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I 



HARVARD UNIVERSITY 



FOGG ART MUSEUM 



■ - - _f ' 



THE NATIONAL GALLERY 

BRITISH ART 



CATALOGUE 



With Descriptions^ Historical Notes and Lives of 

Deceased Artists 




BY AUTHORITY 



LONDON 

PBINTED FOR HIS MAJESTY'S STATIONERY OFFICE 
AND SOLD AT THE GALLERY 

1908 



SIXTEENTH EDITION 



Price Sixpence 



Sio 



y NOV 6 '.908 



ADMINISTRATION AND REGULATIONS 

OF THE GALLERY. 






\. 



Administration. 



The National Gallery, British Art, otherwise known, from the 
name of its founder, as the Tate Gallery, is a branch of the 
National Gallery in Trafalgar Square. Both Galleries are aocord- 
iogly controlled by the same Board, consisting of Director and 
Trustees, but a separate Keeper is appointed to the Gallery at 
Millbank. 

Inquiries relating to the Gallery should be addressed — 

The Keeper, 

National Gallery, British Art, 
MiUbank, S.W. 



From 10 a.m. until 6 p.m. 



Hours op Opening. 

The Gallery is open to the Public free on Mondays, Thursdays, 
Fridays, and Saturdays throughout the year during the following 
hours : — 

January From 10 a.m. until 4 p.m. 

February ) ^^^^ jq ^ ^^ ^^^^^ ^^^ 

March ) 

April 

May 

June . 

July f 

August 

September 

October 1 

November > From 10 a.m. until dusk. 

December J 

The Gallery is open to the Public on Tuesdays and Wednesdays 
(Students* Days), from 11 o'clock a.m. to 5 p.m. in summer, and 
4 p.m. in winter, on payment of sixpence. 

The Gallery is open on Sundays from 2 p.m. until the hour of 
closing on weekdays in the table above. 

The Gallery is closed on Christmas Eve, Christmas Day, and on 
Good Friday. 



) 






• • * 

111 



Befrbshments. 

A Refreshment Room is provided in the Basement (Staircase in 
West Corridor}^ where hot and cold luncheons, teas, and light 
refreshments may he obtained at moderate prices. Tea is sdso 
served during the summer months in the Recess behind the 
Central Hall. 



\ Students and PHOioaRAPHERs. 

Students are admitted to copy on Tuesdays and Wednesdays 
from 10 A.M. to 5 p.m. in summer, and till 4 p.m. in winter. Forms 
of application and rules can be obtained from the Keeper. 

Professional Photographers are admitted on the same days, after 
making application to the Keeper. 

As copyright is claimed in many of the works, Students aud 
others wishing to copy or to reproduce, must obtain permission of 
the owner of the copyright. A star • after the number of a 
picture indicates that the copyright is claimed, and that a certified 
copy of the registration of copyright at Stationers' Hall has been 
deposited at the office of the Gallery. In the case of living artists, 
it is necessary to obtain their written permission and forward it to 
the Keeper before copies or reproductions can be made. 



Photographs and Reproductions. 

A catalogue illu«trated by reproductions of many of the pictures 
and pieces of sculpture in the collection is on sale in the Gallery, 
and also a series of picture-postcards, but no photographs are ou 
sale. A list of the chief firms supplying photographs may be 
obtained on application to the Keeper. 



10000 Wt7640 7/08 D&S 26A 32707 a 



vi 

Marlborough House, and afterwards at the South Kensington 
Museum, till the new wing of the Natiooal Gallery was opened in 
1876, when they were transferred to Trafalgar Square. In 1857, 
ten years after tlie Yernon gift, Mr. John Sheepshanks presented 
a similar collection to the nation, nnder condition that it*should 
be exhibited at South Kensington, with reyersion to the Fitz- 
"William Museum at Cambridge. At South Kensington there has 
also grown up, by gift and purchase, a large historical collection of 
British water-colours. To this and to the Sheepshanks Collection 
the name " National Gallery of British Art " was attached and 
is still employed. 

When Sir Henry (then Mr.) Tate in 1890 offered a collection of 
modern British pictures to the nation as the nucleus for a new 
gallery, it was at first proposed to house tbem in one of the 
existing exhibition buildings at South Kensington. Dissatisfied 
with this plan, Mr. Tate made the further munificent offer of 
£80,000 for the construction of a new building, if the Government 
would provide a suitable site. Difficulties arose over more than 
one site proposed at Kensington, on the ground of insufficient 
space. !b'inally bir William Harcourt, as Chancellor of the 
Exchequer, took the matter in hand, and a site was agreed upon at 
Millbank, where the Penitentiary, designed by Beotham, had been 
recently demolished. Tbe foundations were laid in September, 
1893. The building, designed by Mr. Sidney B. J. Smith, the 
aicbitect chosen by Mr. Tate, was handed over to the Government, 
and opened by His Majesty King Edward VII, when Prince of 
Wales, on 21st July, 1897. The generous gift of Sir Henry Tate 
and bbe opening of the Gallery are recorded by inscriptions on 
the bases of two columns in the Central Hall. The Founder's 
inscription is as follows ; — 

This Gallery 

AND Sixty-five Pictures 

WERE Presented to the Nation 

BY 

HENRY TATE 

FOB THE 
ENCOrRAG£MENT AND DEVELOPMENT 

OP British Art 

AND AS A Thank Offering for 

A Prosperous Business Career of 

Sixty Tears. 

In addition to the pictures, Sir Henry Tate presented two 
bronze statues and one in marble. His own bust was presented to 



Vll 

the Gallery by a body of subscribers in the following year, and 
stands between the two columns referred to, facing visitors as 
they enter the gallery. 

The building at its opening consisted of seven galleries and a 
central hall on the ground floor, a balcony under the dome on 
the first floor, and a gallery over the vestibule. In the basement 
was accommodation for offices, &c. Two yearns later (1899) Sir 
Henry had completed his scheme by the addition of eight more 
galleries and a large sculpture hall. 

The collection in 1897 consisted of — 
I.— TAc Tate Gift. 

II. — The Chantrey Collection, transferred from South 
Kensington, nambering eighty-five pieces. These 
have been added to by annual purchases and the total 
is now one hundred and twenty-four. 

III. — Fifty- four pieces from the Vernon Collection transferred 
from Trafalgar Square, along with other works by 
modern British artists. 

IV. — The Watts Oift, a collection of seventeen pictures, 
mainly allegorical, by George Frederick Watts, B.A., 
presented by the artist. Some other pieces were 
afterwards added, and the collection is now hung in 
Room VII. 

The original collection has been more than doubled in the 
course of ten years by gift, bequest and purchase. Under the 
will of Mr. Henry Vaugban, twenty-four small pictures and 
statues of Reynolds and Flaxman were acquired in 1900, and a 
statue of Gainsborough commissioned. This was placed in the 
Gallery in 1906. These three statues, along with one of Wilkie, 
transferred from Trafalgar Square, occupy the recesses in the 
Central Hall. 

In the same year, 1906, Room XI. (the last to be opened to the 
• public), was hung with pictures from the Turner bequest, trans- 
ferred from Trafalgar Square. The majority of these pictures, 
left unfinished at the artistes death, had never previously been 
exhibited. In the same room are now shown a number of relics 
of the master, lent by Mr. C. Mallord Turner. On May 6, 1908, 
it was announced by Mr. Lewis Harcourt, First Commissioner of 
Works, that on the vacant site behind the Gallery, the whole of 
which has been reserved by the Government for future extensions, 
an addition of five galleries, with accommodation for students 
beloWj will be made in the near future, through the generosity 



vi 

Marlborough House, and afterwards at the South Kensinston 
Museum, till the uew wing of the National Gallery was opened in 
1876, when they were transferred to Trafalgar Square. In 1857, 
ten years after the Yernon gift, Mr. John Sheepshanks presented 
a similar collection to the nation, under condition that it*should 
be exhibited at South Kensington, with reversion to the Fitz- 
William Museum at Cambridge. At South Kensington there has 
also grown up, by gift and purchase, a large historical collection of 
British water-colours. To this and to the Sheepshanks Collection 
the name " National Gallery of British Art " was attached and 
is still employed. 

When Sir Henry (then Mr.) Tate in 1890 offered a collection of 
modern British pictures to the nation as the nucleus for a new 
gallery, it was at first proposed to house tbem in one of the 
existing exhibition buildings at South Kensington. Dissatisfied 
with this plan, Mr. Tate made the further munificent offer of 
£80,000 for the construction of a new building, if the Government 
would provide a suitable site. Difficulties arose over more than 
one site proposed at Kensington, on the ground of insufficient 
space, [finally 2^ir William Harcourt, as Chancellor of the 
Exchequer, took the matter in hand, and a site was agreed upon at 
Millbank, where the Penitentiary, designed by Beotham, had been 
recently demolished. The foundations were laid in September, 
1893. The building, des'gned by Mr. Sidney R. J. Smith, the 
avcbitect chosen by Mr. Tate, was handed over to the Government, 
and opened by His Majesty King Edward VII, when Prince of 
Wales, on 21st July, 1897. The generous gift of Sir Henry Tate 
and the opening of the Gallery are recorded by inscriptions on 
the bases of two columns in the Central Hall. The Founder's 
inscription is as follows : — 

This Gallery 

AND Sixty- FIVE Pictures 

WERE Presented to the Nation 

BY 

HENRY TATE 

FOB THE 

ENCOrRAGEMENT AND DEVELOPMENT 

OF British Art 

AND AS A Thank Offering fob 

A Prosperous Business Career of 

Sixty Years. 

In addition to the pictures, Sir Henry Tate presented two 
bronze statues and one in marble. His own bust was presented to 






I 



Vll 

the Gallery by a body of subscribers in the following year, and 
stands between the two columns referred to, facing visitors as 
they enter the gallery. 

The bnilding at its openinor consisted of seven galleries and a 
central hall on the groand floor, a balcony under the dome on 
the first floor, and a gallery over the ves'utbule. In the basement 
was accommodation for ofl&ces, &c. Two years later (1899) Sir 
Henry had completed his scheme by the addition of eight more 
galleries and a large sculpture hall. 

The collection in 1897 consisted of — 
I.— TA« Tate Gift. 

II. — The Chantrey Collection^ transferred from South 
Kensington, numbering eighty -five pieces. These 
have been added to by annual purchases and the total 
is now one hundred and twenty-four. 

III. — Fifty-four pieces from the Vernon Collection transferred 
from Trafalgar Square, along with other works by 
modern British artists. 

IV. — The Watts Oift^ a collection of seventeen pictures, 
mainly allegorical, by George Frederick Watts, R.A., 
presented by the artist. Some other pieces were 
afterwards added, and the collection is now hung in 
Room VII. 

The original collection has been more than doubled in the 
course of ten years by gift, bequest and purchase. Under the 
will of Mr. Henry Vaugban, twenty-four small pictures and 
statues of Reynolds and Flaxman were acquired in 1900, and a 
statue of Gainsborough commissioned. This was placed in the 
Gallery in 1906. These three statues, along with one of Wilkie, 
transferred from Trafalgar Square, occupy the recesses in the 
Central Hall. 

In the same year, 1906, Room XI. (the last to be opened to the 
" public), was bung with pictures from the Turner bequest, trans- 
ferred from Trafalgar Square. The majority of these pictures, 
left unfinished at the artist's death, had never previously been 
exhibited. In the same room are now shown a number of relics 
of the master, lent by Mr. 0. Mallord Turner. On May 6, 1908, 
it was announced by Mr. Lewis Harcourt, First Commissioner of 
Works, that on the vacant site behind the Gallery, the whole of 
which has been reserved by the Government for future extensions, 
an addition of five galleries, with accommodation for students 
below^ will be made in the near future, through the generosity 



Vlll 

of Mr. J. J. (now Sir Joseph) Duveen, and will be occupied by the 
bnik of the Turner pictures and drawings, on loan from Trafalgar 
Square. 

The total number of works in the Gallery — pictures, sculpture 
and drawings — is now 652.* Of these, 273 were given, 144 
bequeathed, 124 were Ghantrey purchases, and 111 purchased from 
other sources. This last figure is swelled by the 85 drawings by 
Alfred Stevens that have been purchased, and when the pictures 
bought out of the Clarke and Lewis and other funds have been 
deducted, only 8 pictures remain that have been bought out of 
the taxpayers' money, represented by the annual grant-in-aid 
or special grants. These figures will show to what an extent the 
collection, as well as the building, is due to private generosity. 

The special funds just referred to, from which purchases may 
be made for either Gallery, are as follows — 

I. — The Clarke Fund; the interest on £23,104, bequeathed 
by Mr. Francis Clarke. 
n. — The Lewis Fund; the interest on £10,000, bequeathed 

by Mr. T. D. Lewis. 
III. — The Wheeler Fund ; the interest on £2,655, bequeathed 
by Mr. E. C. Wheeler, to be expended on English 
pictures. 
l^.—The Walker Bequest; £10,000 bequeathed by Mr. J. L. 
Walker, to be spent on a picture or pictures. 
Separate lists of Purchases, Presentations and Bequests will 
be found at the end of th^s volume, preceded by an Index to 
Numbers. 



•^ Of this number 13 pictures are works by foreign artists, temporarily 
accommodated in the Gallery. 



IX 



PLAN OF THE GALLERY. 




Booms I to YI, IX, and X, contain pictures of the British 
School dating from the early years of the 19th century to the 
present time, and include a number of pictures from the Yernon 
and Tate Gifts. The earliest pictures are in Boom I. Boom YIII 
is a Sculpture Hall, and Booms YII and XI, opening from the 
Sculpture Hall, contain the Watts Collection and Turner Collec- 
tion, respectively. Booms XTI to XYI contain fche Chantrey 
Collection. Drawings are hung in the corridors leading to the 
Sculpture Hall. In the Balcony upstairs is a suppjlements^ series 
of pictures; and the Chan trey water-colours, with some others, 
are hung in Boom XVII upstairs. Staircases leading to the 
Balcony and Boom XYII are at A and A> on the Plan. 

(BJL.) b 



x 



EXPLANATORY REMARKS. 



The Catalogue is arranged in the alphabetical order of the 
artists' names. Reference should be made from the painter's name 
on the frame of the picture to the corresponding name at the head 
of the page in the Catalogae, where the order is alphabetical. 
Should the name of the painter on the picture frame from any 
cause not be easily legible, it may be found by referring to the 
number in the Index list, page 332, corresponding with the number 
of the picture. 

In describing the pictures, the terms right and left are used with 
reference to the right and left of the spectator, unless the context 
obTiously implies &e contrary. 

B. = bom. 1. === long. 

D. =: died. ft. = foot. 

h. = high. in. = inch. 

w. = wide. • == copyright claim. 



RECENT ACQUISITIONS. 



A list of works acquired subsequent to the issue of this edition 
of the Catalogue is hung outside Room I. 



CATALOGUE. 



(Habry W.). 

No. 1838. Winter's Sleep. 

A snow-covered landscape, with a river on the loft. The leaf- 
less trees and the right bank of the stream are lit ap by the cold, 
bright rays of the winter sun. The cast shadows on the snow are 
blue, reflecting the clear sky. Signed, 

Harry W. Adams, 1900. 

On canvas, 3 ft. 11^ in. h, by 5 ft. 11^ in. w, 
Bzhibited at the Boyal Academy, 1900. 
Ohantrey Purchase, 1900. 



(Edwin). 
No. 1965. Peacock and Python. 

A pvthon is crushing a peacock in its powerful coils. The 
reptile s narrow neck is wound round the brilliant throat of the 
peacock, and the wmgs of the bird are outspread in the death 
struggle. 

Water oolour on paper, 3 ft. 3 in. h, by 6 ft. 9 in. w. 

Boyal Watercolour Society's Exhibition, 1905, 

Chantry Purchase, 1905. 



(Joseph W.). 

B. 1803. D. 1852. 

Joseph W. Allen was bom in Lambeth in 1803. He was 
educated at St. Paul's School, and was afterwards for a short time 
usher in an academy at Taunton. Discovering a talent for drawing 

(BA.) A 



2 ALLEN— ALMA-TADEMA. 

he came back to London and became aasifltant to a picture 
dealer, under wbom he acquired a knowledge of the old masters. 
He afterwards took to scene painting in association with Oharles 
Tomkins and Clarkson Stanfield, and during Madame Yestris's first 
lesseeship of the Olympic Theatre, he painted most of the scenery 
for her. The natural bent of his genius was for pastoral land- 
scape ; his picture called the <* Yale of Glwyd," exhibited in 1847, 
was purchased by an Art Union prizeholder, and Allen repeated it 
twice in smaller dimensions for other purchasers. '' Leith Hill " 
in the following year was equally successful ; he painted in North 
Wales, Cheshire, and Yorkshire. Allen took an active part in the 
establishment of the Boyal Society of British Artists, of which 
he became the secretary, and refused to exhibit in London except 
at their gallery in Suffolk Street. He was professor of drawing 
at the City of London SchooL He died in 1852. 

No, 1904. A Landscape. 

The sky is clearing after a stormy day. A boy and girl are 
driving cattle from a farm in a wood across a wet road to pasture 
on the open flats to the left. A cart passes along the road to a 
cottage on the right, of which the white walls are lit up by the 
last rays of the sun, setting behind watery dourls. A woman in 
a red cloak and black bonnet turns up a footpath to the right past 
a fallen silver birch. 

On canvas, 2 ft. 7 in. K by 3 ft. 11^ in. \jo» 
Presented by Mr. T. W. Bacon in 1902. 



A&KA-TADBMA (Sib Lawbbngb), O.M., R.A. 

No. 1523- A Silent Greeting. 

The picture was suggested b^ a poem of Goethe's. A 
warrior, dressed in Roman armour, is placing a bunch of red rosee 
in the lap of a lady who has fallen asleep over her work ; in the 
background a slave girl holds back a thin- curtain showing a 
glimpse of a sun-lit court and blue sky. Signed, 

L. Ahna-Tadema, Op. COXCLS:. 

On wood, 12 in. A. by 9 in. to. 

Exhibited at the New Gallery in the year 1892. 

Tate Gift, 1894. 



AIOflTAGE. 3 

A&MZTAOB (Edward), m.A. 

B. 1817. D. 1896. 

Edward Armitage was bom on the 20th of May, 1817, in 
London, where he reoeived his earliest education ; but it was on 
the Continent — ^mainly in France and Germany — ^that he pnnued 
his later studies, and there, too, probably acquired a taste for art. 

Having decided to become a painter, he entered the Ecole des 
fieanx-Arts in Parts, then under the direction of Paul Delaroche, 
who in course of time noticed the seal and ability displayed by 
the young Englishman, and employed him as an assistant in 
executing certain portions of the *' H^micyde," that well-known 
decoratiye work which adorns the amphitheatre of the ESoole, and 
is considered Delaroche's masterpiece. This experience and the 
natural enthusiasm which it created in Armitage for French art 
of the neo-dassic school, formed a taste which he retained through 
life. 

In 1842, being then only 25 years of age, he exhibited at the 
Paris Salon his first large picture "Prometheus Bound," which 
seems to have been received with favour. A year or two later he 
entered into the competition organized by the British Govern- 
ment for cartoons, exhibited in Westminster Hall, with a view to 
the decoration of the Houses of Parliament, and in this venture 
he achieved a great success. The subject which he selected for 
illustration was " GsBsar's First Invasion of Britain." The design 
was placed first in the list of those to which a premium of 3001, 
was awarded. In later competitions of the same kind his cartoon 
representing " The Spirit of Religion," won a prize of 2001. For 
ft third work, " The Battle of Meeanee," painted in oil, he received 
the award of bOOl. 

After spending twelve months in study at Rome, Armitage 
exhibited for the first time at the Royal Academy in 1848 
two pictures, "Henry VJLLL. and Gatherine Parr," and another 
entitled "Trafalgar," representing the death of Nelson. These 
were followed in subsequent years by many other works, of 
which the most notable were his "Samson," exhibited in 1851 ; 
« The Thames and its Tributaries " (study for a fresco at West- 
minster), 1852 ; " The Ravine at Inkermann," 1856, and " Retri- 
bution," painted in commemoration of the Indian Mutiny, 1858^ 

(B.A.) A 2 



it ARMITAGE— ARMSTEAD. 

A little later the painter seemB to have seleoted religions sabjecta 
f 07 iUnstration, and among these may be mentioned '^ St. Francis 
and his Followers," 1869, " The Mother of Moses hiding," and 
** Christ with the Twelve Apostles," 1860. 

In 1867 Armitage was elected an Associate of the Royal 
Academy, and five years afterwards a full member. In 1875 
he was appointed Professor of Painting at the Academy, and 
deliyered a series of iectnres, afterwards published. He had a 
scientific love of natural history, and fomflBd a collection of 
beetles and butterflies, remarkable for its completeness : he also 
was extremely fond of sailing, and carried his enthusiasm so far 
as to submit to the Board of Trade examination, which qualified 
him to command his own yacht. In the latter part of his life he 
inherited a large fortune, of which he made good use, not only in 
the direction of generous hospitality, but in the substantial en- 
comragement of art. His closing years were spent in retirement 
at Tunbridge Wells, where he died on the 24th of May, 1896, 
aged 79. 

No. 759. The Remorse of Judas, 

** Then Jndas whieh had betrayed him, when he saw that he was condemned 
repented himself, and brought again the thirty i>iece8 of silver to the chief 

Sriests «nd elders, sayinfir. I nave sinned in that I have betrayed the innocent 
lood. And they said, what is that to us P see then to that.'*— Ifa^^A^u; xxvii., 8, 4. 

Four figures half length ; life size. 

On oanyas, 4 ft. 2 in. %. by 6 ft. 7 in. w. 

Exhibited at the Royal Academy in 1866. 

Presented by the painter to the National Gallery in 1866. 



(Hugh Henrt), H.A. 

B. 1828. D. 1905. 

Henry Hugh Armstead was bom in Bloomsbnry on June Idth, 
.1828. He was the son of John Armstead, an heraldic chaser of 



ARMSTEAD. 5 

eoats of arms. At the age of eleven be left sofaool and "began to 
b^lp in his father's workshop. At thirteen he went to the School 
of Design at Somerset Hotise, where he took several prises. He 
also studied at Leigh's Academy in Maddox Street, and in the 
British Masenm, where he made friendships which lasted through- 
out his life with Mr. J. B. Glayton, Mr. Holman Hunt, and 
Mr. H. T. Wells, B.A., whose sister he eventually married. At 
eighteen he began to work for Hnnt & Roskells, silver workers of 
Harrison Street, Gray's Inn Road. In this work Armstead was 
much influenced by Yechte, the French silver designer and chaser, 
who visited England about this time. Seeing what beautiful 
effects could be got by chasing on the silver itself after it had 
been cast from the clay model, Armstead learned to chase, and in 
his later works, after he had become the principal designer for the 
original work of the firm, be both modelled the work in clay and 
chased the silver casting. He made several well-known pieces of 
silver : the Shakespeare Cup presented to Charles Kean the actor ; 
the Tennyson Cap for Ascot Races, and the Faust Casket, the 
Prometheus Centrepiece, presented to the Royal Academy, and 
the Packington and Outram Shields, the latter gained medals in 
Paris and London and is now in the Victoria and Albert Museum, 
South Kensington. After the death of the Prince Consort, who 
promoted a fine taste in this work, Armstead saw that the artistic 
interest in silver declined, and as he had been working in sculpture 
on a large scale in his leisure hours, determined to forsake silver 
work and give aU his attention to sculpture. He had already 
produced '* Satan Dismayed " and the *' Temptation of Eve " and 
"^ Boadioea," a relief which obtained honours in the Art Union. 
The work of chief importance which he then designed was the 
stone friese of fruit, flowers and figures, illustrating the adven- 
tures of the Shirleys among the Persians in the sixteenth century, 
for Eatington Hall, Warwickshire. Afterwards he carved the 
eighteen oak panels in the King's Robing Room at Westminster 
Palace, illustrating the Arthurian legends with the story of Sir 
Galahad. Then followed the marble reredos of many figures 
in Westminster Abbey and the important commission for the 
decorations of the Colonial Office in Whitehall. Armstead's 
work included the reliefs of Government, Europe, Africay 
America, Australia, and Education ; Faith, Fortitude, Temperance 
and Obedience; and the stataes of Earl Grey,. Lord Lytton, 



ft> ARMSTEAD' 

the Duke of Newcastle, the Earl of Derby, Lord BipoD, Sir 
William Molesworth and Lord Glenelg. After seeing these 
works Sir Gilbert Scott allotted to Armstead the scolptnre 
of the south and east sides of the podiam of the Albert 
Memorial, containing eighty-foor life-sized figures of masioians, 
poets, sculptors, and painters, Italian, German, French and British, 
and four large bronze statues of Astronomy, Chemistry,' Medicine, 
and Bhetoric. These achieyements carried Armstead into the Boyal 
Academy ; he was elected an Associate in 1875 and a full Member 
in 1880. Among the more noteworthy of his long series of worka 
are : the recumbent effigy of Lord John Thynne and the bust of 
Archbishop Tait in Westminster Abbey ; the ^' Entombment," a 
marble reredos at Hythe ; the fountain in King's College, Cam- 
bridge ; effigies of Bishop Wilberforoe in Winchester Cathedral, 
Archdeacon Moore, Lichfield ; Dean Close, Carlisle, and Canon Webb 
in St. Paul's Cathedral ; the bas-relief of Fred Walker, A.B.A., 
in Cookham Church ; that of Mr. George Boyce, " David and th& 
Lion,*' a low relief almost in the Assyrian manner, set up to the 
memory of Lord Wemyss*s son in the Guards' Chapel ; the 
monument to Street in the Great Hall of the liaw Courts, built 
by that architect ; the important statue at Chatham of Lieu- 
tenant Waghorn, pioneer of the ovwland route to Lidia ; the 
marble doorway and metalwork in the hall of the Holbom 
Bestaurant, and the door of the Hotel M^tropole ; the external 
frieze of the mechanical arts round the Albert Hall ; and the 
Botbschild and Bosebery monuments at Willesden ; and the 
bronze lectern, in the form of an angel holding an olive branch, 
in the church in Sloane Street. Among the many bust-portraits 
Armstead carved were those of Sir Henry Cotton, High Com- 
missioner of Assam, in the Memorial Hall, Calcutta, Mr. Laycock, 
Mr. Stephens, Mr. and Mrs. Freeman, and a delicately finished 
work called "Maidenhood" in the possession of Mrs. Frank 
Calderon. The best known of his subject pieces are *' Ariel," 
'< Playmates," "Hero and Leander," and "Bemorse," the two 
last in this GkiUery. 

Armstead devoted a large part of his time to teaching iu the 
Boyal Academy Schools from the time of his election to the end 
of his life. During that period of thirty years he was an inspiring^ 
and much valued nuister. He died on December 4, 190d, agecl 
8eventy-49even years. 



ARMSTEAD— AUMONIER. 7 

No. 1929. Bemorse. 

A marble statuette of a woman wrixiffiiig her hands and 
hurriedly descending a spiral stairway. Masloi of snake-locked 
furies and a frieze of swords and serpents decorate the 
plinth. 

Marble, 4 ft. A. 

Ghantrey Purchase, 1903. 

No. 2054:. Hero and Leander. 

Hero, seated on the sea-shore, supports the body of Leander 
drowned whilst swimming to her across the Hellespont. She strains 
his head to her biSeiast with both hands and looks down into his 
face to see if any sign of life remains. Jove's eagle, spreading 
his wings, stands on a rock to the left, and the stones of Hero's 
tower are seen on the right. A wave pattern decorates the base. 

▲ marble bas-relief, 4 ft. h, by 6 ft. w. 
Bequeathed by the Sculptor, 1905. 



AirKONiaR (James). 

No. 1619. Sheep-washing in Sussex. 

In an open meadow country through which runs a small 
stream a number of men are engaged in washing sheep as they 
are brought out from the flock in a pen to the right of the stream. 
The washed sheep swim down the stream to the foreground and 
emerge from the shallows on the left. A boy and a little girl 
with a dog stand watching the proceedings. In the middle 
distance is a low hill ^th trees and some farm cottages on the 
top. A flat country stretches away to the distance. Signed 

J. Aumonier 

On canvas, 3 ft. 1 in. h, by 6 ft. 4| in. w. 
Exhibited at the Boyal Academy in 1889. 
Ghantrey Purchase, 1889. 

No. 1962. The Bla^Tc Mountains. 

A moorland landscape ; the sun is setting in a stormy sky over 
dark hiUs. A gloomy valley with a cottage near a clump of 
trees forms the middle distance ; in the foreground a few sheep 
are grasing on a bracken-covered common. Signed, J. Aumonier. 

On canvas, 3 ft. 11^ in. A. by 5 ft. 11§ in. w. 
Exhibited at the Boyal Academy in 1905. 
Ghantrey Purdhase, 1905. 



8 BANES^ 

BANKS (Thomas), &.A. 

B. 1735. D. 1805. 

Thomas Banks was the eldest son of William Banks, land 
steward and surveyor to the Duke of Beaufort. He was bom in 
Lambeth on the 22nd of December, 1735 ; he was sent to school at 
Boss in Herefordshire. A.t the age of fifteen he was placed under 
Mr. Barlow, an ornament carver, and served his full term of seven 
years apprenticeship. Barlow lived near Scheemakers, the 
floulptor, and after working at Barlow's from 6 a.m. to 8 p.m., the 
youth studied at Scheemakers' from 8 to 10 or 11. He was 
employed by Kent, the architect. At the age of twenty-three he 
entered the Academy in St. Martin's Lane, and between 1763 and 
1769 obtained at least three medals and premiums from the Society 
of Arts ; one of these honours was awarded for a bas-relief of 
the " Death of Epaminondas " (1763) in Portland stone ; another 
for a bas-relief in marble of *' Hector's Body Redeemed" (1765) ; 
and a third for a life-size model in clay of " Prometheus." This 
was in 1769, the year of the first exhibition of the Royal Academy. 
In 1770 he exhibited two designs of " iBneasand Anchises escaping 
from the Flames of Troy." In the same year he obtained the gold 
medal of the Academy for a bas-relief of the "Rape of 
Proserpine." His " Mercury Argus and lo " of 1772 procured him 
the travelling studentship, and he reached Rome in the August 
of that year. During his absence he exhibited two works only at 
the Royal Academy — a marble bas-relief of "Alcyone discovering 
the Body of Oeyx " in 1775, and a marble bust of a lady in 1778 ; 
but the following are reckoned as amongst the works of his Roman 
period : — A bas-relief of the " Death of G^ermanicus," bought by 
Thomas Coke, Esq., of Holkham ; another of " Thetis rising to com- 
fort Achilles," possibly the original of the work now in this gallery ; 
«( Oaractaous and his Family before Olaudius," exhibited in 1780 ; 
a portrait of Princess Sophia of Gloucester as Psyche plucking the 
golden wool, in 1781 ; and " Love seizing the human soul in the 
likeness of a butterfly," which was purchased by the Empress 
Catherine of Russia. He spent two years in Russia, and returned 
to London in 1782. He was elected an Associate of the Royal 
Academy in 1784, and the year afterwards a fuU member. His 
diploma work was the " Falling Titan." His " Mourning Achilles " 
is also to be seen at the Royal Academy. In Westminster Abbey 



BANKS— BATES. 9 

there are moniunents by Banks to Dr. Watts, WooUett, the en- 
graTer, Sir Clifton Wintringham, and Sir Eyre Coote. In St. Panl's 
are his monuments to Captains Westoott and Bundle Burgess, 
and a considerable oolleotion of Banks^s models is to be seen 
tn the Soane Museum, Lincoln's Inn Fields. His figure of 
Shakespeare which long adorned the front of Boydell's Shakespeare 
Gallery in Pall Mall has been removed to Stratford. Other im- 
portant works of his are the monument of Mrs. Petrie, in Lewisham 
Chnroh, and that of Penelope Boothby, in Ashbourne Church, 
exhibited at Somerset House in 1793. Banks was also author 
of the statue of Lord Comwallis at Madras, of a bust of General 
Coutts (executed for the India House), and of the monuments to 
Bishop Newton in St. Mary-le-Bow Church, Cheapside ; to Mr. 
Hand, in Cripplegate Church ; and to Baretti, in St. Marylebone 
Old Church. Amongst his busts may be mentioned Home Tooke, 
Warren Hastings (now in the National Portrait GhJleiy), Mrs. 
Cosway, and Mrs. Siddons as Melpomene. His last exhibited work 
{1803) was a bust of Oliver Cromwell. He died on the 2nd of 
February, 1805, and was buried in Paddington Churchyard ; there 
is a tablet to his memory in the north aisle of Westminster Abbey.* 

No. 1763b Thetis and her Nymphs rising from the Sea 
to condole with Achilles on the loss of Patroclus» 

Alto relievo in marble, oval 3 ft. 1 in. A. by 8 ft. 10 in. to. 

Presented to the National Gallery in 1845 by the sculptor's daughter, 
Mrs. Lavinia Forster. 



(Habbt), J1.&.A. 

B. 1850. D. 1899. 

Harry Bates was bom at Stevenage, in Hertfordshire, upon 
the 2nd of June, 1850. He was the son of Joseph and Anne 
Bates of that town. Whilst still a lad he was apprenticed as a carver 
to the firm of Farmer and Brindley, sculptors and marble merchants, 
cd Westminster Bridge Bead. He began his career by cutting 

* Dictionary of National Bioc^pby. 



10 BATES. 

stone roBetiee and foliations. He carved the ornaments in many 
new oharches and bnildings in yarions parts of the provinces 
during the seventies, but in 1879 he returned to London, and 
worked only at such carving as could be done at the work> 
shop, spending his evenings in study at the neighbouring school 
of Art at Lambeth. Here for three months he was under 
the influence of M. Jules Dalou. He won a silver medal 
in the national competition at Kensington with the first head 
he modelled from life in the schools. On Dalou's return 
to Paris Bates entered the Boyal Academy Schools ; his career 
there was short and brilliant, for in 1883 he won the gold medal 
and the travelling studentship of 2002. with his relief of 
'* Socrates Teaching the People in the Agora." After trying several 
arrangements for this composition. Bates at last, when the time 
was getting short, saw an old workman taking his mid-day rest 
in Kensington Glardens and holding forth to his companions ; 
from this beginning the successful group took form ; it was carried 
out in marble, and presented to Owens College, Manchester, by 
Mr. Alfred Waterhouse, B.A. The model was exhibited at the 
Boyal Academy in 1884, and the marble relief in 1886. With 
the scholarship money Bates took a studio in Paris, and by Dalou's 
advice worked under the direction of M. Bodin, who, when he 
saw what his pupil could do, refused all return for his trouble. 
The three ^neas panels and the head of Mr. J. P. Bussell, an 
Australian painter, were modelled in Paris. These reliefs were 
exhibited at the Boyal Academy in 1885, they are in bronze and 
are now in the possession of the Earl of Wemyss. In 1887 
appeared three panels from the.story of Psyche ; in 1889 the im- 
portant group in the round, of a young athlete, crouching down 
and holding back two Danish boarhounds, called "Hounds in 
Leash," a cast of which is now in this Gallery ; in 1890 the 
design for the altar frontal of Holy Trinity Church, Chelsea, a low 
relief representing the dead Christ laid in the Holy Sepulchre and 
two angels sitting, the one at the head and the other at the feet ; 
and the same year the marble statue now in this Gallery, "Pandora," 
purchased under the terms of the Chantrey Bequest. In 1892 Batea 
was elected an Associate of the Boyal Academy ; he exhibited six 
works, " The Story of Endymion and Selene : how she conveyed him 
softly in sleep to old mount Latmos," a panel in relief ; a design for. 
a ohimney-piece to receive this panel ; a marble bust of G. H. B. 



BATES. 11- 

Warner, Esq. ; Dr. Gny's medallion in bronze ; the memorial of 
James Tennant Oaird ; and a door-knocker in silver. This same 
year Bates exhibited at the Grosvenor Gallery a head oast in 
bronze by the lost- wax method, a portrait stndy of his wife called 
** Bhodope." Lord Plymouth has a marble replica of this work. 
Tme to his early training Bates <!ontinaed to design and execute 
decorations for buildings, some of which may be seen in this dty ; 
such as the bronze panels in low relief inscribed '* Springtime and 
Harvest " flanking the recessed shop of Mr. Neave Hill, confectioner, 
Kensington High Street ; the four terra cotta high reliefs on the 
bakery in James Street, Yictoria, and the corbel to the oriel and 
other decorations at the Institute of Chartered Accountants. 

During the last few years Bates produced a statue of Queen 
Victoria for Dundee ; a bronze bust of " Field Marshal Lord 
Roberts," and'the equestrian statue of that General with smaller 
figures grouped around the sides of the pedestal, which waa 
exhibited in the Courtyard at Burlington House during the 
exhibition of 1897, and is now erected in Calcutta. 

He died at his home, 10 Hall Boad, St. John's Wood, London^ 
very suddenly, on 30th January 1899.* 

No. 1750> Pandora. 

She is kneeling on her left knee, a carved ivory and bronze casket 
supported by her left hand upon her right knee ; with her right 
hand she b about to lift the bronze catch that will liberate a. 
multitude of evils and distempers over the world. Inscribed*— 
Harry Bates. 

Marble, ivory, and bronze, including the yellow marble base^ 
8 ft. 6in. h. by 1 ft. 9 in. by 2ft. 6^ in. 

Exhibited at the Royal Academy in 1891. 

Chantrey Purchase, 1891. 

No. 1767> Sounds in Leash. 

A young athlete is crouching down on one knee, holding back 
by the leash two Danish boarhounds. The dogs are springing 
forward and straggling to get after their prey. 

Heroic size. Plaster cast of the bronze group executed for the 
Earl of Wemyss. 

Plaster oast, 3 ft. 6 in. A., 7 ft. Z., 3 ft. 6 in. to. 

Exhibited at the Royal Academy, 1889. 

Presented by the Earl of Wemyss, in 1899. 

" The Portfolio and the Artiit December. 1897. 



12 BATES— BELL. 

No. 1783. War. 

A bas-relief repreflenting Hector's departure from Andromaohe, 
on the right the naked warrior, with hehn and shield, passes up 
some steps under an arch leaving his wife Andromache with their 
child in ner arms leaning against the pilaster that supports the 
arch on the left, and looking round after him ; below, in low 
relief the dead body of Hector is seen dragged behind the chariot of 
Achilles. It is a plaster sketch for the bronse in the possession of 
Mrs. E^owles. Signed, 

Harry Bates fecit 1887. 

Plaster, high relief, 1 ft. 9 in. A. by 10 in. to. 

Preeented by Mr. Charles J. Enowles, 1900. 



(John Zephaniah). 
B. 1794. D. 1883. 

John Zephaniah Be)l was bom at Dundee in 1794 ; his father 
was a tanner. He studied at Edinburgh University, and also under 
private tuition. Although he had chosen Law as his profession, 
it soon became evident tbat his talents lay mainly in the direction 
of Art. He therefore came to London, bringing with him letters 
of introduction to Sir David Wilkie and ethers, and entered the 
Schools of the Royal Academy, where he studied under M. A. Shee, 
the future President. He next visited Paris and worked in the 
studio of the Baron Gros. In that city Bell found a generous 
patron in the Earl of Airlie, who commissioned him to decorate 
the dining room in Gortachy Oastle with incidents from the lives 
of his ancestors. 

In 1825 he went to Rome, and after working there for fifteen 
months returned to Scotland, where, in 1831, he married Miss 
Jane G. Hay Campbell, an Argyllshire lady. 

In 1833 Bell went to Lisbon to paint a full length portrait of the 
Queen Maria for the Town Hall of Oporto. 

On the pressing recommendation of Sir D. Wilkie, in 1837, he 
undertook the direction of the School of Design in Manchester, an 
office which he held for five years. He then returned to London 
and chiefly occupied himself in producing designs on a large scale 



BELL. 13 

for the decoration of public buildings. Amoog these were the 
cartoons he executed for the great competition in Westminster 
Hall — ^f or one of which he received a prize of 2502. 

He died at his house in South Kensington on the 28th of 
January 1883, in the 89th year of his age. 

No. 1392» Cardinal Bourchier urges the Widow of 
Edward IV. to let her Son out of Sanctuary, 

In the centre of the picture, the youthful Prince, clad in black, 
clings to the Queen, who is also draped in deep mourning ana 
surrounded by her attendants. Towards the right of the fore- 
ground the Cardinal, whose back is turned to the spectator, but 
whose face is seen in profile, raises his hands with an appealing 
gesture. Near him stand other ecclesiastics and a page or acolyte. 
On the right, through the open door of the convent hall, are seen 
the halberds of a troop of soldiers on guard. On the left is a 
servant cording a trunk. 

On canvas, 4 ft. 4 in. h, by 6 ft. 9^ in. w. 
Presented by the painter's widow in 1893. 



(BOBEBT AnNIKQ). 

No. 2073> The Listeners. 

A garden enclosed by a yew hedge is seen in diffused evening 
light. In the foreground, a stone-edged pool shows. There are 
seven female figures, two standing together at the left, two nearer 
the spectator, one of them kueeliug, the other lying full length and 
resting her chin on her elbows, with a small book in front of her. 
The remaining three are farther back to the right, standing 
together with arms interlaced. All are supposed to be listening to 
a bird's song. By the artist's wish, the title is altered from that 
in the Royal Water Colour Society's Exhibition catalogue (1906), 
viz., " The Garden of Sweet Sound." Signed and dated, << Bobert 
Anning Bell, 1906." 

Water colour on paper, 1 ft. 7 in. K by 2 ft, 6 in. w, 

Chantbbt Pubchase, 1906. 



14 BENNETT— BONHEUR. 



(William). 
B. 1811. D. 1871. 

William Bennett was bom in 1811 ; he came from the neigh- 
bourhood of Longleat, in Wiltshire. He was placed in the wholesale 
cloth trade in London with a firm in the Borough, but he soon forsook 
it for art. He is beHeved to have received his first lessons from 
David Oox. Bennett lived in a house a few doors from that of 
David Cox junior, in New Park Boad, Clapham Park. He 
was a popular teacher and urged the study of nature. His 
house was near Tooting Common, and at that time cornfields 
abounded in the neighbourhood. He was very fond of the tints of 
early summer, and would rise at 5 a.m. and be at work in the 
fields by 6 a.m. He would work out of doors till 9 a.m. and return 
to his studio when the fresh cool colouring of the morning had 
departed. He began to exhibit at the New Water Colour Society's 
Ghdlery in 1842, and became a full member of that Society in 
1848. He exhibited some 378 pictures there before his death, 
in 1871. He also exhibited 18 pictures at the Royal Academy.^ 

No. 1722a In Richmond Park. 

'* A brotherhood of venerable trees.*' 

Four large oak trees cast a shadow across a pathway through 
a glade in the park. Through the archway formed by tiiie branches 
of the trees a shepherd is seen sitting with a dog and watching his 
sheep grazing near a large oak brightly lit up by the sun on the 
other side of a hollow ; to the left are old oaks stag-homed at 
the top ; over them may be seen a distant view of the valley of the 
Thames. Signed, W. Bennett, 1852. 

Water colour 1 ft. 2^ in. h, by 1 ft. 9^ in. to. 

Presented by Mr. E. Homan, in 1899. 



(Rosa). 

B. 1822. D. 1899. 

Marie Rosaline Bonheor was bom at Bordeaux, in France, on 
the 22nd of March, 1822. She was of Jewish origin, and the 
eldest of four children, all of whom were artists. Rosa Bonhenr 

* Bryan's Dictionary of Painters and Enffravers ; Graves* Catalogae of 
Eadiibitors, and information kindly supplied by W. H. IJrwicIc, Esq. 



BONHEUR— BONINGTON. 15 

vas taught to draw at an early age by her father, Baymond 
Bonheor, who died in 1849, and he, perceiving her talent, allowed 
her to abandon thebasiness of dressmaking, to which, much against 
her will, she had been pat, in order to devote herself wholly to art. 
From 1840 to 1845 she exhibited at the Salon ; in 1848 a medal 
was awarded to her. Her fame dates more especially from the 
Exhibition of 1855. She was decorated with the Legion of 
Honour by the Empress Eugenie, and was afterwards promoted to 
be an officer of the Order. She lived quietly at her country house 
at By, near Fontainebleau, where for many years she held 
gratuitous classes for drawing. 

No. 621. The Horse Fair. 

Men trotting out horses in the bright sunshine ; some riding 
them, others l^iding them by cords ; some coming forward, others 
retiring. To the spectator's right an avenue of trees, with groups 
of lookers on ; the effect broken up by glimpses of sunshine. The 
picture is a smaller version of the work exhibited in 1853, now in 
America. 

On canvas, S ft. 11 in. h, by 8 ft. 2^ in. to. 
Bequeathed by Mr. Jacob Bell in 1859. 



80NXNOT0M (Richard Pabkes). 

B. 1801. D. 1828. 

Richard Parkes Bonington was bom in the village of Arnold 
near Nottingham, October 25th, 1801. His father, who was a 
landscape and portrait painter, took him, when only fifteen yearn 
old, to Paris, and there procured him permission to copy in the 
lionvre. Owing to this circumstance, Bonington's eduo|tian was 
chiefly French ; he became a student of the Ecole des Beaux- Arts, 
and attended occasionally the studio of the Baron Gros. He 
devoted himself chiefly to landscape painting, working often in 
water-colours ; his subjects are mostly marine or river views. 

Bonington obtained considerable reputation in Paris, and Dela- 
croix has recorded the brilliant impression his work produced. He 
-visited Italy, and in Yenice found material suited to his taste; 



16 BONINGTON. 

he ezecnted some elaborate views there, both in oil and in water- 
colonrs. By the exhibition of some of these works he acquired 
great reputation also in England. He died of decline, at 29, Totten- 
ham Street, London, on the 2drd of September 1828, shortly after 
his return from a second visit to Paris, not having quite completed 
his twenty-seventh year. He was buried in St. James' Ohurch, 
Pentonville. 

Sir Thomas Lawrence, writing to a friend on attending Boning- 
ton's funeral, remarks, " I have never known in my own time an 
early death, of talent so promising, and so rapidly and obviously 
improving."* 

Bonington exhibited only four pictures at the Royal Academy : 
" A Scene on the French Coast," in 1827 ; and the three following 
in 1828 : " Henry III. of France," a " Coast Scene," and " The 
Grand Canal, with the Church of La Yergine della Salute, 
Venice." Thirty-five of his works are in the Wallace Collection. 

No, 374. The Column of St. Mark, Venice, 

The column supports the winged lion, .the attribute of St. Mark, 
in bronze, this and the other column on the right, which supports 
the marble statue of St. Theodore, the first patron of Venice, are 
known as the Colonne della Piazzetta, They were brought from 
the East early in the twelfth century, by the Doge Domenico 
Micheli, and were erected in their present position by Niccolo 
Barattieri in 1180. The statue of St. Theodore was placed on the 
column in 1329 ; the lion of St. Mark, a work of later date, was 
carried to Paris in 1797, but restored to its original position in 
1816. 

On canvas, 1 ft. 6} in. A. by 1 ft. 2} in. w. 
Engraved by James B. Allen. 
Exhibited at the British Institution in 1826. 
Vemoi^Gollection, 1847. 

No. 1719. Oheyne Walk. 

A view of Cheyne Walk in its old and picturesque state 
before the present Embankment was built. Chelsea Old Church 
is seen in the distance ; on the left are trees and white palings, 

. * Cunningham's Lives of BritiBhFaintergt&o. 



I 
J 



BONINGTON— BONVIN. 17 

and the houses of the terrace with their red roofs occupy the 
right of the picture, telUng dark against a quiet evening sky. 
In the roadway are a brewer's dray and a horse and a cart, and 
groups of figures are walking by the river. 

Water colour 4^ in. h, by 7 in. to. 

Eidiibited at the Winter Exhibition of the Boyal Academy in 1878. 

Formerly in the collection of William Quilter, Esq. 

Presented by Mr. E. Homan, in 1899. 



80NVZN (FHANgois Saint). 

B. 1817. D. 1888. 

Bonvin was a French painter chiefly of interiors with figures 
and still -life pieces, but occasionally worked at landscape. 
He was born at Yaugirard, Paris, on the 22nd of November, 
1817. He was the son of a garde - champUrBf and received 
his early art education in the Drawing School of the Bue de 
riioole de Medicine under Lecoq de Boisbaudran. For thirty 
years he was a constant exhibitor at the Salon, and in 1870 he 
xeoeived the Order of the Legion d*Honneur. The latter part of 
his life was clouded by ill-health. He died in 1888. 

No. 14s48a A Village Ghreen in France. 

A broad level pasturage on which cows are grazing. In the 
background a he<^e divides the enclosure from distant woodland 
and scattered builcUngs. Signed and dated 




ffftV/ 




/^^ 



On canvas, 1 ft. 5^ in* h, by 1 ft. 9} in. tc. 
Presented by Mrs. JS. Edwards in 1895. 



18 BOTJGH— BOUGHTON. 

BOVOB (Samuel). 

B. 1822. D. 1878. 

Sam Boagh was born at Carlisle in 1822, where he worked for 
two years in the town clerk's office. He received no systematio 
instmction in art, although he becadie acquainted with many 
artists. His first efforts were in scene painting and decorating 
interiors. In 1858 he remoyed to Edinburgh, becoming an 
Associate of the Scottish Academy in 1857, and a full member in 
1875. Amongst his most important works are '* Shipbuilding on the 
Clyde," "Kirkwall," « Borrowdale," "London from Shooter's 
Hill," "St. Monans," "Winton Castle," "Arran Hill," "The 
Baggage Wagon," ^ Ben Nevis," and a " Windy Day." He died at 
Edinburgh, in November 1878. 

No. 1936. Holmwoody Dorking. 

A sandy cart-track leads past a hedgerow and trees across the 
comer of a common to a tiled cottage, where a man on a ladder 
is thatching a hayrick. On the left there is a pond and willow 
trees \ some geese are leaving the water to join the rest of the 
flo(^ in the foreground. Signed, Sam Bough, 1856. 

On canvas, 11^ in. h. by 1 ft. 6 in. w. 

Presented by the Earl of Carlisle. 



BOtrOBTON (George Henry), B.A. 

B. 1833. D. 1905. 

George Henry Boughton was bom in Norfolk, on December 4th, 
1833. His family went to America in 1834, and he passed his 
youth in Albany, New York, where he first developed his artistic 
tastes. In 1853 he came to London and spent some months in the 
study of art. Returning to America he settled in New York, and 
became known as a landscape painter. In 1859 he went to Paris 
and devoted two years to study, and he finally took a studio in 
London in 1861. He was elected an Associate of the Boyal 
Academy in 1879, and full Academician in 1896. Amongst hia 
best known works are " Winter Twilight," " The Lake of the 
Dismal Swamp," "The Scarlet Letter," "The Return of the 
Mayflower," " Councillors of Peter the Headstrong," and sevenl 



BOUGHTON— BRABAZON. ift 

pictures of old Puritan life in New England. He yisited Holland 
tind painted a number of Dutch sceneB, of which the picture in 
the Tate Collection, *' Weeding the PaVement" is one, and 
published, with Mr. Edwin Abbey, a book called '' A Sketching 
Tour in Holland," in 1885. Boughton was elected a member of 
the National Academy of New York in 1871. He died very 
suddenly in 1905.* 

No. 1B39* Weeding the Pavement. 

On the paved quay of a '* Dead City," by a broad river or 
estuary, a group of women are at work digging out the weeds 
which have grown up between the stones. A luuik with reeds some 
way from the shore indicates that the silting up of the harbour 
has caused the decay of the place. On the left are trees and 
houses, and in the distance across the water are seen the buildings 
and sliips of a flourishing port. Signed and dated G. H. 
Boughton, 1882. 

On canvas, 2 ft. 11} in. h, by 4 ft. 11} in. to. 
Exhibited at the Grosvenor Gkillery in 1882. 
Tate Gift, 1894. 



lAZON (Hebcules Brabazon). 
B. 1821. D. 1906. 

''Hercules Brabason Brabazon, the younger son of Hercules 
Sharpe, of Blackballs, Durham, and of Oaklands, Battle, was bom 
in Paris, on the 27th November, 1821. He succeeded his elder 
brother in the Brabazon estates, county Mayo, in 1847, and under 
the will of bis uncle. Sir William, he took the name of Brabazon. 
He succeeded his father at Oaklands in 1858 ; he had been educated 
at Harrow and Trinity College, Cambridge." (Catalogue of 
Memorial Exhibition at the G-oupil Oallery, 1906.) His chief 
training as a painter was the copies he made after English 
water-colourists, a practice he maintained to the end of his long 
life, and he included among these innumerable copies rapid notes 
of the general aspect and colour of his favourite oil paintings in 
the gaUeries of Europe, works by Tintoretto, Velazquez, Guardi» 
Watteau, Goya, Delacroix, and others. His own early sketches 
-riiow the influence of MuUer, Cox, De Wint {see No. 2112) and 
other painters, and No. 2109 might be a careful study by Buskin. 
As his sense of colour developed he worked more and more in the- 

* Men and Women of the Time and the OhrlBtmai Nnmbet ot th6 Art 
Journal 1904. . 

(B.A.) B 2 



20 BRABAZON. 

manner of Turner's later sketches, with an even freer nse of body 
colour ; the contemporary landscape painter for whom he had the 
greatest admiration was Ckude Monet. Some of his earliest 
years of stady were spent in Bome and its neighbonrhood, and 
from that time onwards he passed his life in constant water-colour 
sketching, aiming always at freshness and directness of impression, 
and never elaborating his sketches afterwards. In this way he 
accumulated a huge store of sketches from tours in Italy, France, 
Switzerland, Egypt, and in one instance as far afield as India. 
From these tours he returned for brief intervals to his flat in 
Iklorpeth Terrace, near Yictoria Station, or to his home in Sussex. 
Music divided his affections with painting ; he was a tireless 
pianist, and musicians were among his chosen companions. It 
was not till he was seventy that he was induced to exhibit or sell 
his work, though much of it bad found its way into the hands of 
admiring friends. In 1891 he exhibited at the New English Art 
Club and was elected a member. From that time to his death he 
was a constant exhibitor. Shortly after his appearance at the 
Dudley Gallery a collection of his woik was shown at the Goupil 
Gallery, the first of a series that did much to spread his reputa- 
tion. He also exhibited at several of the exhibitions of the 
I>astel Society, and of the International Society. His vigour, as 
well as his pleasure in this late-won success, was maintained 
almost to the end, and it was only in the last two of his eighty- 
five years, that he ceased to travel and to work. He died at 
Oaklands in May, 1906. 

No. 2109> Houses at TivoU, 

A courtyard with partly dilapidated buildings, grey and 
ochreous in tint, to the right. Over the wall to the left is seen 
the distant plain. Grey-blue sky. Inscribed *H. B. B., Tivoli.' 
Drawn about 1860. 

Pencil and wash with body-colour on warm-grey paper, 10 in. h. by 
1 ft. 2^ in. w. 

Presented by Mrs. Harvey Combe, niece of the artist, in 1907. 

No. 2110. Boses. 

A bunch of tea-roses, ranging in colour from pink to yellow, in 
a blue and white vase against a brown background. Signed 
< H. B. B.' Painted about 1895. 

Body-colour on paper, 1 ft. 1^ in. h, by 9i in,w. 

Presented by Mrs. Harvey Combe, niece of the artist, in 1907. 



BRABAZON. 21 



Ko. 2111. Murcia. 



Market-place of the Spanish town in brilliant sunshine. A 
street opens, between white buildings, facing the spectator, and in 
this stands a ruddy-coloured tower. The sky is deep blue. Part 
of the foreground is in shadow ; in the lighted part are trees, 
figures, and the tilt of a large wagon. 

Body-colour on warm-grey paper, 6 in. h. by 8) in. td. 

Presented by Mrs. Harvey Gombe, niece of the artist, in 1907. 

No. 2112. TivoU. 

The town is seen on its height to the left a^inst a warm eyening 
sky. The river- bed is below to the right, with the plain beyond, 
and the cascades are seen on the hill-side under the town. The 
colour is sober tints of brown and green. The date is about 1868. 

Transparent watercolour, with touches of opaque white, on white 
paper, 5| in. h, by 1 ft w. 

Presented by Mrs. Harvey Combe, niece of the artist, in 1907. 



No. 21 13. The Pink Palace. 

The foreground shows the mouth of a Venetian canal in 
shadow, with a mooring-post on either side. On the farther 
side of a canal crossing the first a palace front, broken by green 
shutters, faces the rosy evening light, and is reflected in the 
troubled water. Painted about 1890. 

Body colour on grey-green paper, 9| in. A. by 1 ft. If in. to. 

Exhibited at the Goupil Gallery in 1892. Till 1907 in the possession 
of Prof. P. Brown. 

Presented, along with No. 21 14, by Miss Glare Atwood, on behalf of 
a Body of Subscribers, as a memorial of Miss Ethel Parker, 1907. 

No. 2114. Ths Grand Canal. 

A view of the Grand Canal, Venice. One side of the canal 
sweeps round in brilliant light towards the left ; from a landing 
stage in shadow to the right gondolas are crossing. Painted 
about 1890. Signed < H. H. B.' 

Body-colour on white paper, 5| ins. h, by 10^ ins. to. 

From Mrs. Harvey Combe's collection. 

Presented, along i with No. 21139 by Miss Clare Atwood, on behalf of 
a Body of SubBcribers,lin memory of Miss Ethel Parker, 1907. 



22 BRABAZON— BRETT. 

No. 211B. Les Bochers Rouges. 

A bay and promontory in warm evening light, on the coast 
between Nice and Mentone. The aand in the foreground is in 
shadow. The title is written on the moant in pencil in the artist's 
hand. 

Body-oolonr <m grey paper, 6| ins. h, by 9^ ins. to. 
Presented by Mr. J. S. Sargent, 1907. 



ia«WB«M« 



(Frank), 
No. 1627. A Hopeless Dawn. 

^Hmnan effort and sorrow going on perpetually from age to age.- Wavea 
rolling for eyer, and winds moaning, and faithf nl hearts wasting and sickening 
for ever, and brave lives dashed away about the rattling beach like weeds for 
ever, and stUl, at the helm of every lonely boat, through starless night and 
hopeless dawn. His hand, who spreads the fisher's net over the dnst of th» 
Sidonlan i>alaoes, and gave into the iUhei's hand the Keys of the Kingdom of 
heaven.*'— IStMMn. 

A yonng wife kneels in despair beside her old mother, who has 
Jt>een trying to comfort her during the long watches of & 
tempestuous night. A Bible lies open before them. Through 
the cottage window is seen a raging sea by the light of a cheerless 
dawn breaking through a stormy sky. On the window-sUl a 
candle that has burnt all night as a beacon has just flickered out.. 
Signed, Frank Bramley, 1888. 

Painted at Newlyn in GomwaU. , 
On canvas, 3 ft. 11| in. A.' by 5 ft. 5| in. to. 
? Etched by James Dobie for the " Art JoomaL'* 
Exhibited at the Royal Academy in 1888, 
Chantrey Purchase, 1888. 



(John), A.S.A. 

B. 1830. D. 1902. 

John Brett was the eldest son of Captain Oharles Cartis Brett^ 
of the 12th Lancers. In 1853 he was a student of the Boyal 
Academy Schools, and in early life he camid strongly under ib^ 



BRETT— BRIDELL. 23 

inflaenoe of the Pre-Raphaelites. John Bnskin wrote enthasisBti- 
oally of one of his early pictures, *' The Stone-breaker," exhibited 
in 1858. In the following year Brett exhibited his well-known 
picture called the '^Yal d'Aosta," in which he sought to carry out 
the principles of the Pre-Baphaelite painters in landscape work. 
From that time he was a regular exhibitor at the Royal Academy 
showing highly-finished pictures of the seas and rocks encircling 
the English coasts, especially those of Cornwall and the south. He 
was elected an Associate of the Boyal Academy in 1881, and died 
at Putney on the 8th January, 1902. 

No. 1617* BHtannia^s Bedim. 

A wide space of calm asure sea, seen from a height and dotted 
with fishing boats and other vessels, reflects a summer sky filled 
with large white clouds lit up by the bright sun. Signed and 
dated, J^ Brett, 1880. 

On canvas, 3 ft. 6) in. A. by 6 ft. \\\ in. to. 
Exhibited at the Boyal Academy in 1880. 
Ohantrey Pnrohaae, 1880. 

No. 1902. From the Dorsetshire Cliffs. 

A wide view of the sea illuminated bv sunlight ; white clouds 
break the rays of li^ht and cast purple shadows on the.' green 
waters. Signed and dated, John Brett, 1871. 

On canvas, 3 ft. 5| in. A. by 6 ft. 11) in. «?. 
Exhibited at the Boyal Academy in 1871. 
Presented by Mrs. Brett, in 1902. 



(Fbedebigk Lee). 

. B. 1831. D. 1863. 

Frederick Lee Bridell was bom at Southampton in 1831. He 
showed an early love of drawing, and at the age of fifteen entered 
on the profession of a portrait painter in his native town. His first 
efforts appear to have been whoUy unassisted, for at that time it was 
difficult to obtain even elementary education in Art at Southampton. 



24 BRIDELL— BROCK. 

Young Bridell's work attracted the attention of a local picture 
cleaner and dealer, and with him he entered into an engagement 
which after much labour supplied him with the means of study on 
the Continent. It was not, however, until 1859 that he exhibited in 
liondon, when his picture of the '* Coliseum by Moonlight " was 
hung at the Boyal Academy, and again at the International Exhi- 
bition of 1862. The public impression which it made was fully 
sustained by subsequent works. A visit to the Lake district in 
North Italy resulted in the execution of seyeral noteworthy pictures, 
which met with full appreciation and a ready sale, but unluckily 
for Bridell's fame most of his best landscapes were never exhibited* 
Among them was a scene illustrating the "Temple of Love," 
described in Spenser's "Faerie Queen," which Bridell is said to 
have painted in imitation of Turner. This was a commission 
from Mr. Wolff, of* Southampton, who bought several of his 
piotures and formed a collection to which the owner gave the name 
of the " Bridell GaUery." 

In 1858 Mr. Bridell married, at Rome, the daughter of Mr. W. 
J. Fox, then M.P. for Oldham, a lady who herself had adopted Art 
as a profession. But unfortunately his health had long been 
delicate, and he died of consumption in August 1863. 

No. 1Z05- The Woods of Sweet Chestnut above Varenna^ 
Lake Oomo. 

A wooded slope shelves rapidly towards the rocky sides of the 
Lake, a portion of which is seen to the left, with a lioat sailing on 
its surface. In the f orc^ound, to the right, is a felled or shattered 
chestnut tree, near which a woodman sits. Mountainous back- 
ipround, with a blue sky crossed by drifting clouds. To the Ic^t, 
in the extreme distance, the crest of Monte Rosa, illumined by a 
rosy light, rises from the horizon. 

On canvas, 1 ft. 9^ in. A. by 4 ft. 10| in« to. 

Presented by Mre. Bridell-Foz (formerly Mrs. Frederick Lee Bridell) 
1886. 



BBOCBL (Thomas), S.A. 
No. 1747. A Moment of Peril. 

A ' red man ' driving his spear at the head of a huge serpent 
that has wound itself, in two great coils, round the hind leg of his 



BROCK, 25 

frightened horse, and nearly brought him to the ground. 
Insoribed, Tho*. Brock, Sculpt, London, 1880. 

Bronze, 6 ft. 8 in. h,, without the spear, upon a hladk marble base, 
3 ft 2. by 3 ft. 10 in. 117. 

Exhibited at the Boyal Aoademy in 1880. 

Ghantrey Purchase, 1881. • 

No. 1765. Sir Henry Tate. 

A portrait bust of the Founder of this Gallery. Inscribed 
Tho" Brock, Sculptor. Henry Tate was born in 1819. He joined 
a firm of sugar refiners in Liverpool ; invented a method of cuttiug 
up sugar-loaves (1872), and came to London in 1880. He formed, 
at Park Hill, Streatham, a collection of pictures, a selection of 
which he gave to the nation in 1897, along with this Gallery (see 
Introduction). He was created a l^uronet in 1898, and died in 1899. 

Bronze, 1 ft. 8 in. %. 

Exhibited at the Boyal Academy in 1898. 

Ftesented by a body of Subscribers in 1898. 

No. 1784. Eve. 

Eve stands with her head bent forward, her left hand on her 
breast and her long hair faUing down her back and over her 
shoulders, shading her face ; a serpent coils round the base. 
Signed, Thomas Brock, Sculpts, 1900. 

Marble, 5 ft. 9 in. high including the base which is 1 ft. 3} in. deep 
by 1 ft. 6^ in. to. 

Exhibited at the Paris Exhibition in 1900. 
Presented by Sir Henry Tate, Bart., 1899. 

No. 2074. Thomas Gainsborough^ B.A. 

Heroic size statue. The painter stands, looking towards the 
spectator's right. He wears a wis, long-skirted coat. Knee-breeches, 
and buckled shoes. His right hand rests on some papers, placed 
on a pedestal which is decorated on three sides with cartouche and 
wreath. His left hand holds a palette and brushes. Against the 
foot of the pedestal behind rests a violin, wreathed with bay, and 
a roll of music, to indicate Gainsborough's passion for that other 
art. Inscribed on base, Thos. Brook, Sculptor, 1906. 

Marble, 7 ft. h. 

Exhibited at the Boyal Academy, 1906. 

Commissioned under the will of Mr. Henry Vaughan, 1900, and 
placed in the Gallery 1906. 



26 BROUGH. 

BROUaK (BOBBRT). 
B. 1872. D. 1905. 

Robert Broagh was bom at iDTergordon, Rofls-shire, in 1872. He 
went to Aberdeen in his boybood and there had his Bchooling ; in 
course of time he was indentured to Andrew Gibb & Co., litho- 
graphers. While serving as apprentice he studied drawing at the 
evening classes of the Aberdeen Art School, under J. P. Fraser, 
painting before working hours in the morning and often by gas-light 
at night. One of his earliest paintings is a portrait of himself at the 
age of seventeen, now in the Aberdeen Art Gallery. On the day when 
he completed his apprenticeship, Brough abandoned lithography aa a 
business and went to Edinburgh, and in 1891 he entered the Royal 
Scottish Academy life School, where he obtained the Chalmers bur- 
sary, the Stuart prize, and the Maclaine Walters medal. He attended 
the school for two sessions, working meanwhile at lithography, 
designing music covers, and drawing portraits in chalk. He next 
went to Paris and studied under Laurens and Constant. In 1894 
he returned to Aberdeen where he painted many portraits, and 
ultimately came to London in 1897. In 1896, he exhibited a 
portrait of W. D. Ross, Esq., in the Grafton Gallery, which 
attracted much notice, and afterwards received a gold medal at 
Munich. His " Saint Anne of Brittany," and " Twixt Sun and 
Moon " were bought for the Gallery of Modem Masters at Yenice» 
In 1897, '* Violets,'' a fancy portrait, and " Fantaisie en Folic," the 
picture in this gallery, had a considerable success at the Royal 
Academy, and obtained a silver medal at the International Exhibi- 
tion held in Paris, in 1900. By his death, the result of a cruel 
raUway accident neax Sheffield, in 1905, British art was deprived 
of a promising painter. 

No. 1956a Fantaisie eti Folie. 

A profile portrait of a lady in a brown velvet dress. She i» 
seated at table covered with a brown cloth. In her right hand she 
is holdinjf. an enamelled jewel suspended from her neck by a long 
bead-cham, her arm is stretched oat so that she may compare the 
. bright tints of the pendant with the gay colouring of a Chinese- 
porcelain grotesque. 

On canvas, 3 ft 4 in. A. by 4 ft. 2 in. to. 
Exhibited at the Boyal Academy in 1898. 
Bequeathed by the Painter, 1906. 



BROWN. 27 

8&OWN (Arnesby), A.R.A. 

No. 1898. Morning. 

A woman is milking a cow in a water meadow ; three more of 
the herd wait near; the rising sun lights ap the group with a 
warm glow ; other cattle and some wUlow trees are seen in the 
distance through the morning mist. 

On canyas, 4 ft. \ in. A. by 6 ft. 11^ in. w. 
Exhibited at the Boyal Academy in 1901. 
Chantrey Purchase, 1901. 



saoWN (Ford Madox). 
B. 1821. D. 1893. 

Ford Madox Brown was bom on the 16th of April 1821 at 
Calais, where his father, Dr. John Brown, a retired commissary in 
the British Navy, had gone to Utc. Young Brown, even in 
early childhood, showed so much taste for drawing that his 
father, after removing to Bruges, placed him nnder the tuition 
of Albert Gregorius, a portrait painter, and sometime director of 
the Academy in that city. He subsequently studied under 
Van Hanselaer of Ghent, and finally entered the Academy at 
Antwerp, then directed by the leader of a new school of painting 
in Belgium, viz., Baron Wappers, from whom Brown . derived 
valuable instruction in the technical practice of his art and the 
use of various mediums. 

While still a pupil of this distinguished master, the young painter 
exhibited at a public gallery in Ghent his picture of *' Job and hia 
Friends," which attracted some notice. 

In 1841 he sent to the Boyal Academy another work entitled 
^* The Giaour's Confession." About twelve months afterwards he 
removed to Paris, where he spent three years in drawing from the 
life and studying in the Louvre. During the competition organised 
about 50 years ago by the British Government with the object 
of procuring designs for decorating the Houses of Parliament, 
Brown sent two cartoons to the Exhibition held at Westminster 
Hall in 1844, and three fresco paintings in 1845. 



28 BROWN. 

After a short stay Id Italy, where he had gone in the vain hope 
of restoring his first wife's health (she died in Paris on the way 
home), Brown came to settle in London, and occasionally ex- 
hibited at the Boyal Academy. A difference with that body 
and his own artistic predilections might have led him to associate 
himaftlf with that youthful band of painters who, under the title 
of the Pre-Raphaelite Brotherhood, at one time seemed likely to 
reTolutionise pictorial taste in this country and form a new school 
of British Art. But Brown, though he took a great interest in 
the rising genius of Rossetti, and even instructed him in the 
technique of oil painting, in 1848 declined to be elected a Brother. 
He had always been a man of independent action and he continued 
to take his own course. 

His principal works are well known. The picture of '* Lear and 
Cordelia " was executed in 1849. Two years later he sent to the 
Royal Academy his " Chaucer reading the Legend of Custance." 
In 1852 he painted "Christ washing St. Peter's feet," which 
obtained a prize from the Academy at Liverpool, and was presented 
in 1893 to the National Gallery. {See description below.) 
**' Work " (Manchester Gallery) was begun in 1852 and completed 
in 1868. The Birmingham Gallery possesses "The Last of 
England " (1852-6). The " Cordelia's Portion " belongs to Mr. 
Albert Wood, of Conway. Another picture, entitled " An English 
Summer Afternoon " (1852-4), is in the collection of Mr. George 
Rae, of Liverpool. Among the last of his more important works 
was a series of twelve panels illustrating the history of the city, 
which he was commissioned to paint for the Town Hall at 
Manchester. 

In 1865 a collection of Brown's pictures and studies was 
exhibited at a gallery in Piccadilly. Examples of his brush were 
contributed to the Paris Exhibitions of 1855 and 1889, as well as 
to those held some years ago at Manchester, Leeds, and Liver- 
pool ; and to the Whitechapel Art Gallery in 1901 . 

In 1891 a number of artists and amateurs subscribed 900Z. for the 
purpose of conmiissioning the painter to execute a work which they 
proposed to present to the National Gidlery, but it was not com- 
pleted at the time of his death, which occurred on the 11th of 
October 1893. The picture. No. 1394, now in this Gallery, was 
bought and presented by the subscribers, at the same time the 
cartoon representing "The Body of Harold brought hto the 



BROWN. 29 

Conqueror/' exhibited at Westminster Hall in 1844, was presented 
to the South London Gallery, and several designs for stained glass 
to various art schools. 

No. 1394. Christ washing St. Peter*8 Feet* 

• 

On the right of the composition St. Peter, clad in a purple 
tunic and ereen mantle, sits with clasped hands reverently extend- 
ing his naked feet towards the Saviour, who, draped in a bluish 
ffrey robe, kneels to wash them in a copper laving-dish. In the 
bacWround is a table covered with a white cloth, around which 
the cusciples sit in various attitudes of devout attention, watching 
the scene. To the extreme left of the group at a comer of the 
table, Judas, with the money-bag before him, stoops to unloosen 
the sandal from his foot. The figures are about two-thirds the size 
of life. 

On canvas, 8 ft. 10 in. h, by 4 ft. 4| in. w. 
Exhibited at the Boyal Academy in 1852. 
Presented by a body of subeoribers in 1893, 

No. 2063> Chaucer at the Court of Edward III, 

This is a reduced version, executed in 1856-68, of the large 
picture now in the Sydney Municipal G-allery. The following is 
the painter's description of the scene,'^ (Catalogue of the Piccadilly 
Exhibition, 1865, cited in "Ford Madox Brown" by F. M. 
Hueffer, p. 71). 

" Chaucer is supposed to be reading these pathetic lines from 
the * Legend of Custance ' : — 

*Hire lltel child lay weping in hire arm. 
And kneling pitonsly to him she said, 
Pees, lltel sone, I wol do thee no harm. 
With that hire converchief of hire hed she braid 
And over his litel even she it laid. 
And in hire arme she lolleth it ful fast. 
And into the heven hire eyen up she cast.' 

Edward III. is now old, Philippa beiog dead ; the Black Prince 
is supposed to be in his last illness. John of Gaunt, who was 
Chaucer's patrou, is represented in full armour, to indicate that 
active measures now devolved upon him. Pages holding his 
shield, etc., wait for him, his horse, likewise, in the yard beneath. 
Edward the Black Prince, now in his fortieth year, emaciated by 
sickness, leans on the lap of his wife Joanna, surnamed the Fair 
Maid of Kent. There had been much opposition to their union* 
but the Prince ultimately had his own way. 



30 BROWN. 

To the rigbt of the old king is Alice Ferrers, a cause of scandal 
to the Oooii, such as, repeating itself at intervals in history with 
remarkable similarity from David downwards, seems to argue that 
the untimely death of a hero may not be altogether so deplorable 
ao event. 

Seated beneath are various personages suited to the time and 
place. A troubadour from the South of France, half -jealous, half 
in awestruck admiration ; a cardinal priest on good terms with 
the ladies | a jester forgetting his part in rapt attention to the 
poet. This character, I regret to say, is less mediieval than 
Shakesperian. Two dilettante courtiers [are] learnedly criticising, 
the one in the hood is meant for Gower. Lastly, a youthful 
squire of the kind described by Chaucer as never sleeping at 
night, *more than doth the nightingale,' so much is he always 
in love. 

Sitting on the ground being common in these day?, rushes used 
to be strewn to prevent the gentlemen from spoiling their fine 
clothes. 

This picture is the first in which I endeavoured to carry out the 
notion, long before conceived, of treating the light and shade 
absolutely as it exists at any one moment instead of approximately 
or in generalised style. Sunlight, not too bright, such as is 
pleasant to sit in out-of-doors, is here depicted. The figures in 
the spandrils of the arch^ symbolise the overthrow through 
Chaucer of the Baxcn bard and the Norman troubadour.'' 

An entry in the diary of Madox Brown dated 4 September, 1847, 
gives the following account of the inception and progress of the 
picture (' Fraeraphaelite Diaries and Letters,' ed. W. M. Bx>88etti| 
pp. 61-63). 

"As the work I am at present engaged npon is the most extensive, as well as 
the most interesting to myself, of anv that I have yet undertaken, I shall b^n 
this book by a short retrospectory glance at the events which have led to my 
undertaking it. 

In the summer of '45 I went to the British Museum to read Sir James 
Mackintosh's History of England^ having heard that it was of a philosophical 
nature, with a view to select some subject connected with the history of this 
country, of a general and comprehensive nature. I was already wavering in 
my mind between two that struck me ; one was * The First Naval Victory,* 
and the other * The Origin of our Native Tongue.' The former subject had flnt 
engaged my attention ; but the sight of MacUse's cartoon of Chii^alry^ and the 
wish to handle more luxuriant materials, afterwards changed the current of 
my thoughts. 

In this mood, glancing over the pages of the above-named history, I feil npon 
a passage to this effect, as near as I can remember : * And it is scar3ely to be 
wondered at that English about this period. should have become the iudioiAl 
language of the countrv, ennobled as it had recently been by the genius of 
Cfeoffrey Chancer.' fhis at once fixed me : I immediately saw a vision of 
Chaucer reading his poems to knights and ladies fair, to the king and court* 
amid air and sunshine. 

When I arrived at Rome, from the library of the English Academy I procured 

the works and life of our first poet, and fortunately I found that the taciA 

' I ' ■■ ■■ 

• • 

* Thes9 do not exist in our version 



3R0WN. 31 

known reEnDectlng huniperfectly admitted of the idea I had already conceived 
of the subject— to wit, Chancer reading his poems to Edward IIL and his Conrt, 
bringing in other noted characters, such as the Black Prince Ac. I immediately 
set to work : and, after many alterations and great labour, I brought the 
composition to its present state. 

At first I had intended calling it * The Seeds of the English Language,' and 
putting ^icUf on one side (as a wing> and someone else on the other, but I 
could find no one to suit. Gower was too poor a character ; and John of 
<}aunt, for the harmony of ideas, would not suit— it being inappropriate to put 
the patron on one wing, and his prot^g^s one m the centre and the other on the 
other side-compartment I then changed my idea to that of *The Seeds and 
Fruits of the English Language ' ; but I soon found that in doing so, after 
having given a place to our greatest poets, there would be none left for the 

f rose- writers : and, little liking the trouble of cutting and contriving for them, 
determined on leaving them out and calling the work the 'Seeds and Fruits 
of English Poetry.'" 

A first sketch in line for the main composition dated " Borne, 
'45/' exists in Mr. Fairfax M array's collection, and is reproduced 
lyy Mr. Hueffer. Two sketches in colour were begun in Rome in 
the same year. One of these, finished in 1851, was in the Flint 
collection ; the other, worked upon in 1851 and 1853, was ffiven to 
John Marshall. This is reproduced in Mr. Holman Hunt s " Pre- 
Baphaelitism and the Pre-Raphaelite Brotherhood," I., p. 124. 
This shows the original composition with wings (finiuly abandoned 
in the larger picture), containing groups of poets, namely, Spenser, 
Shakespeare, Milton, Pope, Bums and Byron. About the painted 
Gothic framework dividing the wings from the centre a Tine 
olambers, laden with grapes. The progress of the large work may 
be followed in Brown's diary till 1851, when it was hung in the 
Academy exhibition. The entry in the catalogue may be quoted, 
for, with a few variations, it fits our picture and gives a key to a 
number of the actors in the scene. 



*'No. 380. Geoffry Ghaucer reading the Legend of 
Gustance to Edward IIL and his Gourt at the 
Palace of Sheen, on the anniversary of the Black 
Princess forty-fifth birthday. 

^ He is supposed to be reading these lines : — 

!* Her litel child lay weeping in hire arm,** Ac. 

" Edward III. is seated in the dais-chair in front of Chaucer. On 
his left are Edward the Prince of Wales (represented in his last 
illness), and Johana, ^' The Fair Maid of Kent," his Princess ; at 
tiieir feet is their child, afterwards Richard II. ; behind these 
are seated the Princess Margaret, memorable for her learning 
and her regard for Chaucer, and her sister the Princess Royal. 
Seated to the right of the Kinj; is Alicia Perrers, formerly 
damsel of the chamber to Queen Philippa ; next to her is John 



32 BROWN, 

of Gkinnt, the patron of Ghauoer. Immediately behind Chancer ib 
the son of John of Gaunt (afterwards Henry lY.), with his father's 
Bword and shield ; and next to him, lower down, are seen Robert 
de Yere, Grand Chamberlain, and the Earl of Pembroke, Edward 
the Third's Marshal. On the foreground, seated on rashes, are Sir 
John Froissart, the historian, with his tablets, and the poet 
Gower. In the opposite corner, Thomas of Woodstock, patron 
of Gower (fifth son of Edward III., and afterwards Duke of 
Gloucester) is seen conversing with the Lady of Bohun, who 
became his Duchess. Behind the Lady of Bohun, Chaucer's 
wife, Philippa, the Picard, is represented with a red head-dress 
speaking to her sister, Catherine Roet, who subsequently became 
third Duchess to John of Gaunt. The central figure seated on the 
steps is a Proven9al Troubadour ; on either side of him are his 
minstrels. The Cardinal, supposed to be nuncio of Gregory XI. 
to the Archbishop of Canterbury in the matter of Wickliff, is 
directing the attention of the Countess of Warwick to the Court 
Fool, who is BO absorbed in Chaucer's tale as to have forgotten his 
calling." 

The Diary yields some notes about the sitters. "Emma,'^ 
(Brown's second wife) *' sat for the Princess ; Elliott, a pupil of 
Lucy's, the Cardinal ; John Marshall, of University Hospital," 
(afterwards Professor of Anatomy at the Academy) **was the 
Jester ; Miss Gregson, since Mrs. Lee, was the Fair Princesti 
behind the Black Prince ; her friend. Miss Byne, sat for the dark 
one, but much altered ; the scoundrel (and afterwards thief) 
Maitland, then under Marshall's hands for operation, sat for the 
Black Prince. The fine woman below, looking round, was a por- 
trait of Julia Wild, celebrated as model . . . also for black eyes ; 
the boys were mostly portraits, but the other heads ideal chiefly." 
There is also a note of Deverell, (a young painter of the Pre- 
Raphaelite circle) sitting for the " Page " in the foreground, i.e, 
apparently the *' Youtfaiul Squire." A study was made from 
D. G. Rossetti for the head of '* Chaucer," and Mr. W. W. Rossetti 
Bat for the " Troubadour." 

The general conception of the picture, as we have seen, grew out 
of the programme for the decoration of the Houses of Parliament. 
This scheme was directly influenced in ideas and style by the 
mural work done in Germany by Cornelius and his predecessors of 
the German Pre-Rapbaelite movement. The programme laid down 
at Westminster included the glorification of English poets. Brown 
had determined, he tells us, to break, in this picture, with his 
dark manner. The practice of fresco in the competitions may 
have aided in breaking up his brown chiaroscuro. He studied the 
early frescoes in Florence also in 1845. He now wished to render 
an effect of light and open air. This idea and the beginning of 
the picture anticipated his acquaintance with Rossetti, Millais 



BROWN— BROWNE. 33 

and Mr. Hunt, but the main work upon it proceeded concarrently 
with the first pictures painted on Pre-Raphaelite principles, and it 
probably owes something to them in minutely observed detail, 
technique (white ground, much transparent glazing, use of copal 
as medium), and in other ways. Some of the figures were painted 
in direct sunlight, by an adjustment of the studio windows, and 
the reflection of blue from the sky on upper surfaces and in 
shadows is introduced from open-air observation. 
Signed on the base of the fountain 

F. Madox Brown— 68. 

The version in the gallery was in the Leyland coUection till 
1892, and afterwards was in the collections of Mr. J. Bibby (tUl 
1899), and of Mr. Lawrence Hodson till 1906. 

Exhibited at the Grafton Gallery, 1897, at Brussels, 1897, at 
Burlington House, 1901. 

On canvas, 3 ft. 11^ in. A. (arched top), by 3 ft. 2^ in. w. The frame 
is of the artist's design, and bears the title *' Chaucer at Xing Edward's 
Castle." 

Purchased out of the Lewis Fund, 1906. 



(Henriettb). 
B. 1829. D. 1901. 

Henriette Browne, Sophie, Madame Jules de Saux, was born in 
Paris, in 1829, wheie she studied under Chaplin. She received 
medals of the third class at the .Salon in 1855, 1857, and 1859 ; of 
the second class in 1861, and of the third class, for engraving, in 
1863. She exhibited five times at the Boyal Academy, in London. 
Her pictures frequently represent oriental and North African 
scenes ; some of the more important are " The Poor School at 
Aix," " Sisters of Charity," " An Apothecary's," exhibited in 1859 ; 
« The Toilet," " A Woman of Eleusis," 1861 ; ** Oranges in Upper 
Egypt," 1870 ; and " The Coptic Poet," 1874. She died in 1901. 

No. 1969. A Greek Gaptive, 

A pale-faced little girl in a light-blue gown tied round the waist 
with a red sash is seated on a pink shawl with her veil thrown 
o£E ; she wears a chaplet of leaves and a red cap fitting close to 
her head, and she holds a wreath of the same leaves in her hands, 
which are folded on her lap. Signed Henriette Browne. 1863. 

On canvas, 3 ft. K by 2 ft. 4^ in. w. 

Bequeathed by Mr. Charles Fraser in 1905. 

(B.A.) C 



34 BDNDY—BURNE- JONES. 

BVIfST (Edoab). 

No, 1960> The Morning of Sedgemoor, 

A number of rustic soldiers are sleeping on the straw in a large 
barn, their rough weapons — scythes, sickles, hooks, and bills — tied 
to poles, piled near them ; one, with a sack ever his .shoulders and 
a sprig of oak in his slouch hat, stands sentinel^ his right hand 
grasping a pole with a scythe bound to it, and his left on a pistol 
hanging from his leather belt. Another, an 'old man in a brown 
doak and an iron cap, sleeps with mailied hands crossed on his 
sword. In the darkness of the barn may be seen a banner of 
royal blue. 

On canvas, 4 ft. 11 i in. A. by 4 ft. I ^ in. to. * 
Exhibited at the Royal Academy, 1905. 
Chantrey Purchase, 1905. 



BURNfi-JONfiS (Sib Edwabd Golet Bubne). 

B. 1833. D. 1898. 

Edward Burne-Jones was born at Birmingham of Welsh 
parentage on the 28th August, 1833. He was educated at King 
Edward's School in that city and at Exeter College, Oxford ; here 
he met William Morris and formed a lasting friendship of great 
influence in the future. His enthusiasm for art was aroused by 
seeing a woodcut " Elf en Mere '*' designed by Bossetti. Burne- 
Jones met Bossetti in London in 1855, and by his advice forsook 
Oxford and the Church, for which he had been intended, without 
waiting to take a degree. He studied painting under Bossetti, 
watching him at work, drawing and painting from the life f roni 
the very first, gaining knowledge by working out with the greatest 
care every detail of the pictures and drawings he undertook. 
Bossetti obtained for him a commission from Messrs. Powell for 
stained glass cartoons ; he designed a great number, the first being 
the Adam and Eve and two Old Testament subjects now in the 
dining hall of St. Andrew's College, Bradfield. He worked for 
Messrs. Powell until 1861, when he designed the Creation windows 
for Waltham Abbey. Afterwards he designed only for William 
Morns, some of their most famous windows being the Saints 
Catherine and Cecilia windows, Christ Church Cathedral, Oxford, 
and tbe Nativity and Crucifixion windows. in St. Philips' Church 



BURNE-JONES. 35 

Birmingham, the cartoons for which are now in the Victoria and 
Albert Museum. In 1858 he designed a cabinet panel for Morris 
"The Tale of the Prioress" from Chancer, the poet in whose 
works Burne-Jones found so many motives. He joined Bossetti 
and others in the scheme for the decoration of the Oxford Union 
in the autumn, but unfortunately the work was carried out in a 
size tempera with only a thin ground of lime wash on the wall 
and speedily perished. In September, 1859, he went to Italy for 
the first time, studying in Florence and Pisa, but he was 
especially impressed by the early masters of Siena. The Royal 
Society of Painters in Water Colours elected him an associate in 
1863 and his works were seen in their gallery from the period when 
he painted Sidonia and Clara von Bork to the period of the Wine 
of Circe, 1887, when he and Sir Frederick Burton retired from the 
Society. With Mr. Ruskin he spent three months in Italy in 
1862, making small copies of Venetian pictures. During these 
years he projected three series of decorations for rooms : the 
Adventures of Sir Degrevant, for Morris ; the Story of St. George, 
for 3irket Foster, and the Story of Psyche, for the Earl of 
Carlisle ; but his work was not generally known until it was 
revealed to the public at the opening of the Grosvenor Gallery in 
1877, when he exhibited eight pictures, including such master- 
pieces as " The Beguiling of Merlin," " The Days of Creation," 
and " Venus Mirror " ; followed in 1878 by " Laus Veneris," 
"Le Chant d' Amour," "Pan and Psyche," and seven other 
works ; in 1879 " The Annunciation " and " The Story of 
Pygmalion," and in 1880 " The Golden Stairs." 

Burne-Jones was elected an associate of the Royal Academy in 
1885, and exhibited there for the first and last time in the following 
year " The Depths of the Sea " ; he resigned in 1893. On the 
opening of the New Gallery in 1888 Burne-Jones was strongly 
represented by two pictures of the Perseus series and " The Brazen 
Tower," and continued to support these exhibitions until his death 
in 1898, in which year he exhibited a " St. George," and " The 
Prioress' Tale." He died suddenly on the 17th of June, having 
«pent the previous day quietly working in his studio. 

Burne-Jones also designed cartoons for Mosaic work and 
tapestry, and other forms of decoration. The mosaic of the New 
Jerusalem for the American Churcli in Rome and the Morris 
Tapestries from the Arthur Legend?. He was an enthusiastic 

(B.A) 2 



36 BURNE-JONES. 

supporter of the Arts and Grafts Exhibitions. Burne-Jones was 
created a Baronet in 1894, be was elected an Honorary Fello^of 
his College 1882, honorary D.G.L. 1881, Chevalier of the Legion 
of Honour, corresponding member of the Institute of France, and 
member of the Dresden Academy of Arts.^ 

No. 1771- King Uophetua and the Beggar Maid. 

The King sits at the foot of the golden throne, from which be 
has just stepped down to lay his richly- jewelled crown at the bare 
feet of the beggar maid, who is already seated as Queen upon the 
purple cushions. 

" For thou, quoth he, shall be my wife 
And honoured for my queen.'* 

Cophetua is in profile, and is of a dark and sallow complexion, with 
a pointed beard and a mass of dark hair ; he wears a complete suit 
of highly ornate plate armour, and over it a mantle of bright 
green, lined with dull purple ; his spear and shield lean against the 
steps of the dais on the right, and his naked «word, jewel hilted, 
rests between his knees. The beggar maid is poorly clad in grey, 
with bare arms and feet. She is fair and has light grey eyes and 
dull gold hair, and holds some anemones in her right hand. The 
chair of State is raised on a flight of steps, with an open balustrade 
around the double seat, and the whole is covered with beaten 
metal work in relief of lions and other animals and patterns of 
an Assyrian character. Myrtle branches are seen through the 
rails on the left, and an orange tree laden with fruit and blossoms 
stands behind, where two youths lean on the coping singing from 
an illuminated score, they wear long gowns of red and blue, and 
changing green and pink. Through a partly- curtained window in 
the background are seen the ramparts of the castle, a stretch of 
forest land and a quiet evening sky. 

This picture was first projected in 1880 and finished in 1884, in 
which year it was exhibited at the Grosvenor Gallery. 

This old story of the king who married the beggar maid is 
narrated in a ballad given in Percy's "Belies of Ancient 
Minstrelsy," first series, book ii., ballad YI. ; it is mentioned 
three times in Shakespeare, Bomeo and Juliet II. i. 14 ; Love's 
Labour Lost, lY. i. 66, and Henry lY. part 2 v. 3, 106 ; it is also 
the subject of a short poem by Lord Tennyson, " The Beggar 
Maid." The picture is signed E. B. J., 1884. 

On canvas 9 ft. 74 in. h. by 4 ft. 5 in. w. 
Presented by a committee of gentlemen in 1900. 

* Sir Edward Burne-Jones : A Becord and Beview. By Malcolm Bell. 
Grosvenor Gallery and New Gallery Cataloguea, Debrett's Baronetage Ac. 



BUTLER— CALAME. 37 



(Elizabeth Bouthbbden Thomfbom). 

No. 1553- The Remnants of an Army^ 

Dr. Bryden, the only survivor of sixteen thousand of the British 
forces under General Elphinstone, who were massacred in the 
Jogdulluck Pass, is arriving exhausted at the gates of Jellalabad, 
January 13th, 1842. To the left the commandant and some of the 
garrison ride out to meet the fugitive ; to the right is the morass 
through which he has passed. 

" One man alone reached Jellalabad. Literally, one man— Dr. Bryden came 
to Jellalabad out of a moving boat wbicb bad numbered in all some sixteen 
tkousand when it set out on its march. The turious eye will search through 
history or Action in vain for anv picture more thrilling with the suggestion of 
an awful catastrophe than that of this solitary survivor, faint and reeling on 
his jaded horse, as he appeared under the walls of Jellalabad"— Justin McCarthy, 
BUtory of Our Own Times. Vol. I., p. 258. 

Signed with the initials E. B., and dated 1879 ; above are the 
letters E. T. and a red cross in a black G. 

On canvas, 4 ft. 4 in. h, by 7 ft. 8 in. w. 
Exhibited at the Royal Academy in 1879. 
Engraved by T. J. Chant. 
Tate Gift. 



(MiLDBED Anne). 

No. 1708> Morning Bath. 

White Fantail and hooded Jacobin piffeons bathing in the water 
that overflows from a stone horse trough ; Virginia creeper hangs 
from the wall behind. Signed, Mildred A. Butler. 

Water-colour, 2 ft. 4 in. h, by 1 ft. 8 in. to. 
Exhibited at the Boyal Academy in 1896. 
Chantrey Purchase, 1896. 

OA&AMB (Alexandre). 

B. 1810. D. 1864. 

Alexandre Galame was born at Yevey, Switzerland, in 1810, his 
father was a stone-carver. After his death, Galame went to 
Geneva and was apprenticed to a tradesman ; but in 1830 he 
entered the studio of Diday and eventually succeeded him in the 
head-mastership of his school. He exhibited landscapes of the 
mountain scenery of his native land at Hamburg and Paris, 
amongst them " The Lake of Four Cantons *' at the Universal 



38 CALAME— CALDERON. 

Exhibition of 1855. He was a skilful engraver and lithographer. 
Perhaps his best known publications are the eighteen "Yiews of 
Lauterbrunnen and Mejringen" and twenty-four *' Alpine 
Landscapes." In 1863 he went to Mentone for his health and died 
there in the spring of 1864. There are two pictures by him in 
the Victoria and Albert Museum. Others are to be seen in the 
Galleries of Basle, Berlin, Berne, Frankfort, Geneva, Leipsic, and 
Neuchatel.^ 

No. 1786. The Lake of Thun. 

A recollection of the Lake of Thun, Canton de Berne, the 
mountain is the Blumlis Alp, an afternoon effect. The mountain 
is capped with snow and is seen across the lake to the left, trees 
and rocks on the right. Signed, A. Galame, M, 1854. 

On canvas, 1 ft. 11 in. A. by 2 ft. 6 in. w. 

Bequeathed by Mr. Henry Vaughan in 1900. 



CAXiDBROK (Philip Hermoqenes), R.A. 

B. 1833. D. 1898. 

Philip Hermogenes Galderon, B.A., was born at Poitiers, in 
May 1833. He was the only son of the Rev. Juan Galderon, a 
native of La Mancha, sometime Professor of Spanish Literature 
at King's Gollege, London. He was educated in London from 
his twelfth year, mainly by his father. He began life as pupil 
of a Givil Engineer, who encouraged him to occupy his leisure 
time in copying prints after Raphael, and in the end persuaded 
the father to allow his boy to to become a painter. He began 
to study in the year 1850 at Leigh's well-known academy in 
Newman Street, working also at the British Museum and the 
National Gallery. 

When nearly twenty years old he went to Paris and was admitted 
to the Ecole des Beaux- Arts under M. Picot, Membre de TListitut, 
where he spent over one year drawing from the life. 

Returning to London he worked at Leigh's School in the 
evenings, and copied at the National Gallery. He first exhibited 

* Bryan's Dictionary. 



GALDERON. 39 

St the Royal Academy in the year 1853 a picture with the 

title- 
By ihQ waters of Babylon there we sat down. 
Yea, we wept when we remembered Zion." 

DeYoting himgftlf for some years to portrait painting he did not 
exhibit regularly nntil after 1857, when he sent to the Academy a 
picture called '*. Broken Yowa"; it was engraved, and Galderon'a 
name became widely known. His popularity was firmly estab- 
lished by the picture of 1862, called " After the Battle," a little 
boy in a ruined cottage deserted by his people and sitting on 
« table alone amidst the victorious soldiery. " Catherine of Aragon 
and her Women at Work," of 1862, and "The British Embassy 
in Paris on the Day of the Massacre of St, Bartholomew/' of 1863, 
ensured his election as Associate of the Boyal Academy in 1864. 
In 1865 Calderon exhibited three pictures, the . principal one, 
''Her Most High, Noble, and Puissant Grace," obtained for the 
painter the only gold medal awarded to an English picture at the 
Paris Exposition Internationale in 1867. The same year he 
exhibited " Home after Victory," and " Evening," at the Boyal 
Academy, and was elected a full member of that body. In 1873 
Oalderon received a medal at the Vienna Exhibition and in 1878 
at the Paris Expodtion TJniverselle a first class gold medal, and 
he was made a Knight of the Legion of Honour. He exhibited at 
Paris seven pictures, including " Home they brought Her Warrior 
Dead," which had been exhibited with great success at the Boyal 
Academy of 1877. He was elected Keeper of the Boyal Academy 
on the retirement of F. , B. Pickersgill, B.A., in 1887, an office 
Calderon filled until his death at his official residence in Burlington 
House, on Saturday th^ 30th of April, 1898, the day of the Boyal 
Academy Banquet. ... 

No. 1573> Renufidatiofi. See " The SainPs Tragedy ^^ 
by Charles Kingsley. 

** All worldly goods and wealth, whldh. once I lovM 
I do now count but dross : and my beloved, 
Thejejiildren of my womb, I now regard 
As if they were another's. God is witness. 
My pzid'e Is to despise myself ; my joy 
All insults, sneers, and slanders of mankind 
No cr^tnre now I love, bat God alone. 
Oh to be clear, clear, clear, of all but Him 

Lo , here I strip me of all earthly heilps 

itedring off her clothes, 
Naked and barefoot through the world to follow 
My naked Lord— " '^ 

"The Saint*s Tragedy," Act Y.iSc.L 



40 CALDERON— CALTHROP. 

The saint is kneeling naked, with her hands resting on a stone 
altar against the wall on the right on which stands a crucifix. Her 
clothes lie on the ground to the left. Behind her stands a monk 
with a gloomy and ascetic expression. Two nuns kneeling at the 
foot of the alter steps, and an old monk with his face hidden in 
his hands, assist at the act of renunciation. The whole scene is 
in a half-light from the small window over the altar. Signed : 




ALOETRON— ig^l 



On canvas, 4 fK 11 in. h. by 6 ft. 11 in. lo. 
Bzhibitecl at the Royal Academy of Arts, 1891. 
Ghantrey Purchase,. 1891. 



CA&TXSOP (Claude). 

B. 1845. D. 1893. 

Claude Calthrop was born near Spalding, Lincolnshire, in 
December, L845. He began his art education under Mr. Sparkes 
at Lambeth, and was afterwards a student at the Royal Academy 
Schools, where he won the gold medal for historical painting. He 
also worked in Paris and Rome. Among his more important 
pictures are '* From Greneration to Generation," the " Last Song 
of the Girondists,*' and two pictures from the " School for Scandal." 

No. X9&1. Scottish Jacobites. 

" Such being the state of affairs when war was declared betwixt 
England and Spain, in 1740, seven daring Scottish Jacobites signed 
an association engaging themselves to risk their lives and fortunes 
for the restoration of the Stuart family, provided that France 
would send a considerable body of troops to their assistance. The 
Titular Duke of Perth, the Earl Traquair, Lochiel, and Lovat, 
were of the number who signed this association. The others were 
Sir James Campbell of Auchinbreck, John Stuart, brother of Lord 



CALTHROP— CARTER. 41 

Traquair, and Lord Jobn Drummond, uncle to the Duke of 
Perth."— (" Tales of a Grandfather.") 

The Jacobites are seated at a long table in an oak panelled hall 
hung with antlers ; a deerhound sniffs suspiciously at the open 
door. Signed G. 0. 

* On canvas, 2 ft. 11 in. A. by 4 ft. 2 in. to. 
Presented by Mrs. Calthrop in 1903. 



(Hugh). 
B. 1837. D. 1903. 

Hagh Carter was bom in Birmingham, on March 4th, 1837. His 
father was solicitor to the London North Western and Midland 
Railway Companies, and was at one time Member of Parliament 
for Coventry. Carter studied for a short time at Heatherley*8 
Art School and afterwards with J. W. Bottomiey, Alexander 
Johnson, Topbam, and John Phillip. He also worked at Dussel- 
dorf , under Yon Gebhardt. Amongst his most sacoessf ul pictures 
were ** Music hath Charms " and ** The Card Players," both repre- 
senting scenes from Westpbalian peasant life. They were exhibited 
at the Royal Academy, in 1872 and 1873, where he was a regular 
exhibitor from the year 1859. He painted many pictures of Dutch 
peasant life and also a large number of portraits. Carter worked 
^ great deal in pastel and water colour, and was for a period of 
twenty years a member of the Royal Institute of Painters in Watt)r 
Colours. He also joined the Institute of Oil Paiuters, and latterly 
the New English Art Club. He died on the 27th of September, 
1903.» 

No. 1955. " The Last Ray:' 

An old Scotch woman in a mutch sits in the window seat of her 
cottage to take advantage of the last rays of light. Peering 
through her horn spectacles, she snips the thread with a large pair 
of shears. This picture was painted in Scotland about 1878. 

On canvas, 2 ft. ^ in. h. by 2 ft. 5 in. w. 
Presented by Mrs. Carter in 1905. 

*From details supplied by Mr. Frank Oarter, the painter's son. 



42 CARTER— CATTERMOLE. 



(Samuel John). 
B. 1835. D. 1892. 

Bamnel John Garter was bom at Bwafifham, Norfolk, on tbe- 
1st of March, 1835. In his boyhood be made drawings and studies 
of animal life on the heath and fields of the estate of Mr. Anthony 
Hammond, of that county. He entered the Norwich School 
of Design when he was 13 years of age, but only studied there for 
one year. Afterwards he employed himself in making drawings 
and portraits of animals for many of the neighbonring gentry.. 
At 18 he came to London and entered the Boyal Academy 
Schools, where he obtained a Qiedal for Drawing from the Antique^ 
but haying to provide for himself he was unable to remain long there. 
He then devoted his time to animal painting, and by carefully 
studying deer, both in the Highlands and on Exmoor, became an 
authority on every subject in connection with that beautiful 
animal. He first b^;an to exhibit at the Boyal Academy in thor 
year 1857. B. J. Garter was a member of the Institute of 
Painters in Oil Golour, and died in London, May 1st, 1892. 

No. 15S9a Morning with the Wild Bed Deer ; or^the^ 
Boyal CoTich. 

Just awakening on a sloping moor are a stag, hind, and calf ;. 
on the right, others of the herd are seen. A hill on the left shows- 
faintly through the morning inist. Signed, Saml. Garter, 1876. 

On canvas, 4 ft. 9 in. ^. by 7 ft. 9^ in. w. 

Exhibited at the Boyal Academy in 1876. 

Tate Gift, 1894. 



CATTB&MOZiXS (Geobge). 

B. 1800. D. 1868. 

George Gattermole was bom at Dickleborough, near Diss, in 
Norfolk, on the 8th August 1800 ; before the age of 14 he wafr 
placed by his father, a man of independent means, with John* 
Britton, the antiquary, and, like his elder brother Bichard Gattermole,. 
he executed drawings for Britton^s ^^Gathedral Antiquities of 
England." In 1819 he began to exhibit at the Boyal Academy ; in> 
thiat year and in 1821 he sent views of Peterborough Gathedral ;: 



OATTERMOLE. 43 

in 1826 ''King Henry diBcovering the relics of Eong Arthur in 
G-lastonbury Abbey," & ^* View near Salisbury/* and '* A Light- 
house"; and in 1827 "Trial of Queen Catherine," his sixth and 
last contribution. In 1822 he was elected an associate exhibitor of 
the Society of Painters in Water Colours, now the Boyal Society of 
Painters in Water Colours ; and in 1833 he became a full member. 
Beginning with drawings of ancient Architecture, he soon began 
to people the remains of feudal times with incidents of history 
or romantic adventure. Among the more important drawings 
exhibited at the Water Colour Society's rooms were: "After 
the Sortie" in 1834; "Wanderers Entertained" (engraved by 
Egan under the title of " Old English Hospitality,)" 1839. In 
July of this year, soon after completing his drawing of the 
"IKLet of Spiers" (engraved by William Walker), he received 
the offer of Knighthood, which he refused. Cattermole with- 
drew from the Water Colour Society in 1850, much to the 
regret of his brother members, who offered him the presidency 
about this time, but he considered that the conditions of exhi-> 
bition hampered him in planning his works, and he likewise 
desired to devote himself more to oil painting. In 1830 he 
travelled in Scotland, making sketches afterwards utilized 
in the volume called "Scott and Scotland." In 1834 appeared 
a little book of wood cuts after Cattermole called "The 
Calendar of Nature," mostly landscapes; in 1836 he illustrated 
Thomas Roscoe's " Wanderings and Excursions in North Wales " 
in 1840-1 appeared Cattermole's well known illustrations to Dickens*^ 
" Master Humphrey's Clock," "Bamaby Budge," and " The Old 
Curiosity Shop"; in 1841 Charles Heath produced " Cattermole'B> 
Historical Annual," twenty-eight steel engravings from drawings 
illustrating " The Great Civil War of Charles I. and the Parliament f 
the second volume was called " Heath's Picturesque Annual " and 
was produced in 1845, the literary part being contributed by Bichard 
Cattermole, the artist's brother ; in 1846 appeared another volume 
called " Evenings at Haddon Hall," with letterpress by Baroness 
de Calabrella. He contributed iUustrations to J. P. Lawson's 
«< Scotland Delineated " and S. C. Hall's " Baronial Halls of 
England." He also published a work in two parts of ten plates 
each, called "Cattermole's Portfolio of Original Drawings," in 
which he used Hullmandel's process of lithotint, as perfected by 
Cattermole and J. D. Harding. As a young man he was a good 



U CATTERMOLE. 

whip and very fond of driving stage-ooaches. He visited Gore 
House, and mixed with the fashionable world of art and literature 
which gathered round the Countess of Blessington and Count 
D'Orsay. .Cattermole lived in chambers in the Albany that had 
been occupied by Byron and by Bulwer Lytton. In 1839 he 
married Clarissa Hester Elderton, and took a house at Clapham 
Rise. He numbered amongst his many friends Browning, Dickens, 
Landseer, Madise, Macready, Stanfield and Thackeray. A number 
of letters passed between Cattermole and Charles Dickens, and he 
was a distinguished member of the latter's amateur theatrical 
company. In September 1863, shortly after the death of his 
youngest daughter, he lost his eldest son, Lieutenant E. P. Catter- 
mole, in India. The double loss plunged him into a fearful 
depression from which he never recovered. He retired entirely 
from society, and died on 24th July 1868. At the French Inter- 
national Exhibition in 1855 he received one of the two M6dailles 
d'honneur" awarded to English artists. Sir Edwin Landseer 
receiving the other ; in 1856 he was elected a member of the 
Royal Academy of Amsterdam and of the Society of Water 
Colour Painters of Brussels.^ 

No. 1721. A Castle Entrance. 

A stone gateway which forms the entrance to the castle is shown 
on the right, approached by a bridge across a moat in which the 
castle wall and the bridge are reflected. The towers are relieved 
against a bright cloud and a blue sky. Signed with the monogram 
of the artist. 

Water colour, on brown paper, heightened with white, 1 ft. 7^ in. A. 
by 1 ft. 2\ in. to. 
Presented by Mr. E. Homan, in 1899. 

No. 1730. Charcoal Study for a Landscape, 

A mountain torrent rushing out of a tarn. 

Charcoal, 1 ft. h. by 1 ft. 5 in. w. 
Henderson Bequest. 

No. 1731- A Scene of Monastic Life. 

Soldiers and monks are listening to a reading in a chapel. 

Charcoal, 1 ft. h. by 1 ft. 5 in. %o, 

flenderson Bequest. 

* Dictionary of National Biography, and Bryan's DictionAry of Paintera 
and Engraven. 



CATTERMOLE— CHAMBERS. 45 

No. 1732k A Scene of Monastic Life, 

A Cardinal seated on a chair of state points with the little finger 
of his right haad to a passage in the large book open on nis 
knees ; ten monks in capucins are in attendance. 

Charcoal, 1 ft. h, by 1 ft. 6 in. w, 
Henderson Beqnest. 

No. 1733- Charcoal and Sepia Stiuiy for a Landscape. 

A square rained tower stands on the opposite bank of a river 
that runs through a thick wood ; armed mounted men are crossing 
the ford at its n>ot. 

Charcoal and Sepia, 1 ft. A. by 1 ft. 6 in. w, 
Henderson Bequest. 



(GEORaB). 

B. 1803. D. 1840. 

George Chambers was born at Wbitby, in 1803 ; he was the son 
of a poor seaman of that town and went to sea when ten years 
old. During his apprenticeship on board a trading sloop, he gave 
evidence of his talent by making sketches of shipping for the 
amusement and gratification of the seamen. The master mariner, 
to whom he was apprenticed, was so well pleased with the lad's 
attempts that he cancelled his indentures in order to allow him to 
devote himself to marine painting. At Whitby he became a house 
painter, and used his leisure time in taking lessons from a drawing 
master of the name of Bird, and in painting small pictures of 
shipping, for which he found a ready sale. Going to London 
three years later, he obtained an introduction to Thomas Homer, 
who employed him for seven years to assist in painting the 
panorama of London at the Colosseum, in the Regent's Park. 
He was also engaged as scene-painter at the Pavilion Theatfe. 
Here he attracted the notice of Admiral Lord Mark Kerr, who 
became his sincere patron, and procured him an introduction to 
King William IV. He was admitted as an associate of the Water- 
Colour Society in 1834, and was elected a full member in 1836 ; 
but a constitution originally far from strong, and much shattered 
by a sea-faring life, was unable to bear the incessant application 
to which he subjected it, his strength gave way, and he died in 



46 CHAMBERS— OHANTRET. 

1840. There are three pictnres of naval engagements by him ia 
the Painted Hall at Greenwich Hospital , the '* Bombardment of 
Algiers," the "Capture of Portobello," and a copy of West's 
*^ Destruction of the French Fleet at La Hogue ; " and five belong- 
ing to the Yictoria and Albert Museum, South Kensington — " A 
Windy Day," " On the Thames," " Sunderland Harbour— Moon- 
light," " Old Man-of-War at Anchor— Boat in a Gale," (signed 
1837), and "Rocky Shore with dismantled Vessel," (signed 1838). 

No. 1966. Dutch East Indiamen weighing their 
Anchors. 

Three sailing ships are riding at anchor in a choppy sea with 
Dutch flags flying. A gleam of sunshine breaks through a cloudy 
sky and lights up the bows of a three-masted sailing vessel riding 
at her moorings with her top masts housed ; on the right another 
loosing sail is getting under way, one of her anchors just appear- 
ing above water. There is a strong breeze blowing and a school of 
porpoises gambols in the broken water on the right. 

On canvas, 3 ft. 1^ in. h, by 4 ft. 5^ in. w. 

Purchased, in London, from Mr. W. H. Bradley, out of the Lewis 
Fund, 1905. 



(Sir Francis Legatt), R.A. 
B. 1781. D. 1841. 

Sir Francis Legatt Ghantrey, whose bequest endowed the Natioa 
with the pictures in this and other rooms, and with most of the 
sculpture in the Gallery, was himself a sculptor. He was bom 
on April 7th, 1781, at Norton, Derbyshire ; his father was a 
carpenter and small farmer at Jordanthorpe, near Sheffield, and 
died when his son was 12 years old. The boy had been taught 
only in the village school, and soon entered upon the work of 
life in the shop of a grocer at Sheffield. In his sixteenth year 
he was much attracted by the shop window of a carver and 
gilder named Bamsay, and became his apprentice for a term of 
seven years. John Raphael Smith, the draughtsman and mezzotint 
engraver, encouraged him and taught him to draw portraits ia 
coloured chalks — a pleasant art that he made use of in his early 
struggling days. A statuary and stone mason taught him to carve 



CHANTREY. 47 

marble and stone ; and Sam James, son of Sam Arnold the 
musician, taught him oil painting. Thus equipped he opened a 
studio at 24 Paradise Square, Sheffield, and advertised in the Shef- 
field " Trio," 22nd April, 1802, that he would execute portraits in 
crayons and miniatures from 2 to 3 guineas each, at that address. 
He is said to have tried his fortune both in Edinburgh and 
Dublin before he came to London, where he studied for a short 
time in the Boyal Academy Schools. At this time he made his 
living by wood-carving for a German furniture dealer named 
Bojaart, and long afterwards recognised, as his own handiwork, 
the table at which he was dining in the house of Samuel Rogers, 
the poet and banker. A marble bust of the Rev. J. Wilkinson for 
the Parish Church of Sheffield was the first that he chiselled. 
He executed the colossal busts of the Admirals Howe, Duncan, 
and St. Vincent, for Greenwich Hospital, at the price of lOZ. each. 
His pecuniary difficulties were solved by his marriage to Miss 
Wale, his cousin, as she brought him a small fortune, which 
subsequently by his exertions in portrait sculpture he increased 
to wealth, which gre^i with his fame. Perhaps his most celebrated 
work is the " Sleeping Children," in Lichfield Cathedral. In the 
National Portrait Gallery are his busts of Sir Walter Scott, 
Benjamin West, P.R.A., and George Canning, and a medallion of * 
Kirke White. His statues of Wellington, Pitt, and George lY., 
are to be seen at the Royal Exchange, Hanover Square, and 
Trafalgar Square respectively. In the year 1815 he was elected 
an Associate, and in 1818 a full member of the Royal Academy. 
In 1819 he was able to travel in Italy for the first time. 
William lY. honoured him by knighthood in the year 1835. Ho 
was an honorary D.C.L. of Oxford, and honorary M.A. of Cam- 
bridge, F.R.S. and F.S.A. He died suddenly of spasm of 
the heart on November 25th, 1841, and was buried in his 
native village in a tomb he himself had prepared. There is a 
portrait of him painted by himself in this gallery, and two more 
are in the National Portrait Gallery, one by himself in black and 
white chalk, and one painted by Thomas Phillips, R.A. He 
bequeathed the reversionary interest, after the death of his widow, 
in the bulk of his estate to the Royal Academy under certain 
terms, a sum to be spent each year in the purchase of works of art 
to form a national collection.* 

* ** Dictionary of National Biography/* 



48 CRA NTREY— CHARLES. 

No. 1591. Portrait of the Artist. 

Seen to the waist, turned to the right, his face looking out of the 
pictnre, he holds a chalk-holder in his right hand and leans over hiB 
drawing ; he wears a green coat. 

When in the possession of Lieut.-Gol. F. Cunningham, thiB 
picture was lent to the National Portrait Exhibition held at the 
South Kensington Museum in the year 1867. 

On oanyas, 2 ft. 5^ in. h. by 2 ft. ^ in. to, 
Ohantrey PnrchaBe, 1894. 

No. 1950- A Reclining Nymph. 

Statuette in baked clay, 5 in. h, by 10 in. long. 
Presented by Miss Tye. 



No. . Three Ivory Modelling Tools. 

Used by Sir Francis Cbantrey, B.A. • 

Presented by Mr. Lawson Booth. 



(James). 
B. 1851. D. 1906. 

James Charles was born in Warrington in 1851. In London he 
studied first at Hatherley's, then at the Boyal Academy Schools 
from 1872, and later at Julian's in Paris. He was one of a group 
of English students, influenced at that time by the French '* open 
air " movement, who devoted themselves to the study of natural 
lighting, and in the words of Mr. George Clausen, *' some of us, 
who have gained wider recognition than ever was his, feel grate- 
fully how much they owe to his influence and example." He 
exhibited his first picture at the Academy in 1875, and continued 
to show there till 1904^. He also exhibited frequently at the 
Grosvenor and New Galleries, and at the New English Art Club. 
His address in the earlier years is Chelsea, but in 1888 he settled 
near Chichester, and most of his work after that date was painted 
in the immediate neighbourhood of his home. Towards the end . 

* In Mr. Graves's useful list of exhibitors at the Academy the work of 
Oharles appears, by a slip, partly under the name of ** John" Charles. 



CHARLES. 49 

of his life he visited Italy, and prodaoed at Capri some remark- 
able stadies of light and colour with a perceptible broadening of 
his vision. His carefully studied scenes of English rustic life 
attracted little notice during his life-time. The chief collection 
of his work, including landscapes, figure-subjects and portraits, 
was formed by Mr. Maddocks, the donor of No. 2119. A few of 
his pictures were shown in the Old Masters' Exhibition (1907), 
following on his death in 1906, and in February, 1907, a selection 
of the works remaining in his studio were shown at the Leicester 
Oalleries at the instance of Mr. Clausen and other friends. 

No. Z119. Will it Bain f 

An old woman in black bonnet, lilac apron, and cream coloured 
and scarlet shawl stands, basket on arm, in front of her cottage in 
the village street. With puckered face she looks at t{ie sky, and 
hesitates to open the green umbrella. The cream and scarlet of 
her shawl are echoed in the comb and feathers of a cock, in the 
plaster of the cottage and geraniums and fuchsias in its window. 
Signed " J. CharloP, 1887." 

On canvas, 1 ft. 5^ in. A. by 1 ft. 1^ in. w. 

Presented by Mr. John Maddocks, 1907. 

No. 2122. studies of Sheep. 

Pencil on white paper, 8i in. h, by lOi in. w. 
Presented by Prof. F. Brown. 

No. 2123- In the Hay field. 

A field with haycart and stacks. Above jare' separate sketches 
of haycart. 

Pencil on white paper, 8| in. h, by 10^ in, w. 
Presented by Prof. F. Brown. 

No. 2124. Heads and Groups of Figures, 

Pencil on white paper, 8^ in. h. by 10 J in. w. 
Presented by the Widow of the Artist. 

No. 2125. Landscajje and Figures. 

Two landscape notes, one of a Mill ; a Grirl reading ; a note of 
a group. 

Pencil on white paper, SJ in. h. by lOJ in. w. 
Presented by the Widow of the Artist. 

CB.A.) D 



50 CLARK— CLAUSEN. 

No. £126- A Country Road. 

Pencil on white paper, 3| in. h. by 9 in. w. 
Preeented by the Widow of the Artist. 



CliA&& (Joseph). 

No. 1S93- Mother's Darling. 

A young mother in a black dress with beads around her neok and 
a Greek C&oss brooch leans with clasped hands over her siok child. 
Signed, J. Clark, 1884. 

On oanYM, 1 ft. 7^ in. Ar. by 1 ft. 3 in. to. 

Bzhibited at the Royal Academy of Arts in 1885. 

Ghantrey Pnzohase, 1885. 

No. 1610- Early Promise. 

The YOung artist leans against a table covered with sreen cloth, 
where he has been drawing a horse in water-colours. On his chair 
is his portfolio of studies, which an old clergyman and his daughter 
are admiring. Signed, J. Clark, 1877. 

On oanyas, 2 ft. 6 in. A. by 2 ft. i in. to. 

Exhibited at the Boyal Academy in 1877. 

Ghantrey Purchase, 1877. 



CXiAVSBir (George), S.A. 

No. 1612i. The Oirl at the Gate. 

A girl stands at the gate of a cottage garden, looking out with 
au anxious face ; she wears a blue check cotton dress and whit<» 
apron. Signed, G. Clausen 1889. 

On oauYas, 5 ft. f>^ in. ^. by 4 ft. 6| in. to. 

Exhibited at the Grosyenor GkJlery in 1890. 

Ohantrey Purchase, 1890. 






CLAYS— COCKRAM— COLE. 51 

C&AYS (Paul Jean). 

B. 1819. D. 1900. 

A Belgian marine painter, bom in Bruges, who was trained in 
France nnder Gadin. He worked and died in Brussels. 

No. 815- Dutch Boats lying in the Roads of FltMhing^ 
in the mouth of the Scheldt. 

A number of Dutoh sailing-barges and other vessels are lying 
becalmed off a low-lying coast, their sails reflected in the glassy 
water. A heavy sky with dark clouds gives notice of an 
approaching storm. Signed P. J, Claygj 1870. 

On canvas, 2 ft. 5 in. A. by 3 ft 7 in. to. 
Bequeathed by Mr. John Meeson Parsons, 1870. 



COC&&AJIC (Georqe). 

No. 1707. Solitvde. 

The waves break towards the pebbled shore ; sea-gulls collect 
■pon the wide stretch of wet sand that reflects the grey clouds 
and the restless sea. Signed, George Gockram. 

Water-colour, 2 ft 2 in. A. by 4 ft. 3 in. «). 
Exhibited at the Royal Academy in 1892. 
Ohantrey Purchase, 1892. 



la^aia 



COIiB (George Yigat), 

B. 1833. D. 1893. 

• 

George Yicat Cole was bom at Portsmouth on April the 17th, 
1833. He studied landscape painting under his father, George 
Oole, an early member of the "Society of British Artists," 
and worked with him during many a summer ramble by the 
Teign, the Dart, and the Moselle, from the year 1849 to the year 
1854. In 1852, when he was nineteen years of age, he exhibited 
a picture " Banmore Com mon " at the British Institution, and 

(B.A.) D Ji 



52 COLE. 

niewB on the Wye and the Teign at the Suffolk Street Galleries. 

The next year, 1853| he exhibited two pictures at the Royal 

Academy, " Kloster Marienbnrgi on the Moselle/' and a " Sunny 

Tiew," as well as a large picture, " The Ruins of St. Catherine's, 

near Guildford," at Suffolk Street. He was elected a member of the 

Royal Society of British Artists in 1859. His picture, called 

" Harvest Time," of 1860 obtained a silver medal from the Society 

for the Encouragement of the Fine Arts. Living at Abinger, in 

Surrey, he painted many pictures of that county, with blue distances 

and yellow cornfields. *' Summer's Golden Crown " was exhibited 

at the Royal Academy in 1866, and at the Paris International. 

Exhibition in 1867. In 186S he came to live in Kensington, 

painting during the summer on the banks of the Arun, and 

exhibiting at the Royal Academy the pictures "Floating down 

to Camelot," " Summer Showers," and " A Pause in the Storm," 

in 1869. These pictures led to his election as associate of the 

Royal Academy in the following January. Up to this date his 

pictures are signed 

" Ticat Cole " : 

afterwards it was his custom to use only his initials and the date, 
two figures on either side of the interlaced initials ; 



18 



U70 



He was made a full member of the Royal Academy in 1880, shortly 
after the. opening of the Exhibition, the first landscape painter 
elected since Thomas Creswick, who was made Academician in 
1850. Yicat Cole's last ten years were devoted to a series of 
pictures of the Thames "from source to sea." The task was 
nearly completed, when he died at Campden Hill House, on the 6th 
of April, 1893."<> 

• 

No. 1599. The Pool of London. 

A principal feature of the picture, which represents the busy 
scene on the Thames below London Bridge, is a large ocean-liner 

* The Life and Paintings of Yicat Cole, B.A. by Robert Chignell, Barrister- 
at-I^w. 



COLLIER— COLLINS. 53 

getting np steanii and pouring out a volome of black smoke which 
darkens all the sky to the left. Nearer to the front are two barjfes, 
on one of which sail is being hoisted ; and in the immediate 
foreground is another, laden with rusty anchors and chain-cable, 
on which a man is stirring a cauldron of pitch over a fire. The 
right of the picture is filled with a varied mass of shipping, 
conspicuous among them being a tug with coal barges in tow and 
two fully-laden hay barges. Through the masts the Tower of 
London and river-side buildings are visible. Signed and dated on 
a barge in the foreground bo the right. YIG AT COLE, 1888. 

On canvas, 6 ft. 2^ in. A. by 10 ft. to. 
Exhibited at tho Royal Academy in 1888. 
Ghantrey Purchase, 1888. 



0O&US& (Hon. John). 
No. 1616« T?ie Last Voyage of Henry Rxidson. 

** The great navigator made his last voyage to the Polar Seat in 1610. In the 
summer of 1611 bis crew matinied, and set him adrift in an open boat with 
his son John Hodson, and some of the most infirm of the sailors. 

They were never heard of more." 

In a desolate Arctic scene the grey-bearded navigator, in his 
furs, sits in the stem of an open boat graspins the tiUer in his left 
hand ; his glassy eyes staring straight out before him. A boy 
dressed in a light brown suit sits at his father's feet and looks np 
appealingly into his face. To the left, a sick shipmate in the 
bottom of the boat draws up to his chin the skin of a polar bear. 

On canvas, 6 ft. 11^ in. A. by 5 ft. lli^ in. to. 
Exhibited at the Royal Academy in 1881. 
Ghantrey Purchase, 1881. 



COJ^XiZHS (William), a.A. 

B. 1788. D. 1847. 

William GoUins was born in London, September the 18th, 1788 ; 
his father, who carried on the business of a picture dealer in Great 
Titchfield Street, was a native of Wicklow, in Ireland, and the 
friend of George Morland, of whom he wrote a memoir. The son. 



54 COLLINS. 

from this intimacy, was in some measure the pupil of Morland, 
who allowed Collins to watch him painting. From 1807 to 1814 
Collins was a student and an exhibitor at the Royal Academy ; 
in the last year he was elected an associate, and 1820 a member 
of that institution. His first patron was Mr. Lister Parker, 
who bought his picture of " Boys with a Bird's Nest," exhibited 
at the Royal Academy in 1809. He became the chief support of 
his family in 1812, when he lost his father; But he early found 
valuable patrons in Sir Thomas Heathcote, Sir John Leicester, 
Sir G-eorge Beaumont, and Sir Robert Feel. 

He was a distinguished exhibitor at the Academy, con- 
tributing 121 pictures in forty years, his style being chiefly 
landscape, with the out-door incidents of ordinary life promi- 
nently introduced ; as the " Young Fifer," the " Sale of the 
Pet Lamb," "Bird Catchers," the "Fisherman's Departure," 
"Hop Gatherers," "Happy as a King," "Frost Scene," "The 
Haunts of the Sea Fowl," " Fetching the Doctor," with cottage 
and coast scenes in great variety ; especially Cromer Sands. He 
painted also a few portraits. Latterly, however, he evinced a 
desire to treat higher subjects ; he exhibited " Our Saviour with 
the Doctors in the Temple," in 1840 ;' and " The Two Disciples at 
Emmaus," in 1841. 

In 1817 he visited Paris ; made a tour in Holland and Belgium 
in 1828 ; and resided a short time at Boulogne in 1829. Li 1836, 
he visited Italy, remaining there nearly two years ; in 1840, 
Germany, and in 1842, the Shetland Islands ; each tour affording 
new materials for his varied subjects. He died in London, of 
disease of the heart, February the 17th, 1847.^ 

No. 352. The Pratun Catchers. 

Some boys are fishing for prawns on the sands at low water ; 
in the background, to the left, is a small fishing village. 

On wood, 1 ft. 3i in. h by 1 ft. lOi in. w. 
Engraved by J. T. Willmore, A.B.A. 
Exhibited at the Royal Academy in 1831. 

Purchased by Mr. Vernon at the sale of the late Sir F. Freeling's 
pictures. 

Vernon Collection, 1847. 



* Art Onion Monthly Journal, April 1847. His "Life" by bis sod, 1849. 



COLLINS— COLTON. 55 

No. 1910. Cromer Sands. 

In the foreground two fisher lads and a spaniel are lit up by the 
last rays of the sun, whii^ is setting over the sea to the right. 
Long shadows are cast across the wet sand and the pools left by 
the tide. Fishing boats are drawn ap on the beach near the 
wooden jetty on the left, and over the top of the cliff are seen the 
tower of the church and the red roofs of the village. 

On eaai^as, 3 ft. 3^ in. h. by 4 ft. 8 in. w. 
Bequeathed by Lord Gheylesmore in 1902. 

No. 1912. Sunday Morning. 

A grey pony, saddled with a pillion, is shown waiting near the 
gate of a farmyard, ready to carry to church an old lady in black, 
who is descending the steps from a thatched cottage on the right. 
She leans on the arm of a young man, and is assisted by a girl on 
her right, while a boy places a chair to serve as a mounting-block. 
Other children are grouped round the pony. Through the gate 
the villagers, including the parson, are seen wending their way 
along a woodland path to a church in the distance. 

On canvas, 2 ft. 8 in. h, by 3 ft. 6 in. w. 
Bequeathed by Mr. Charles Gassiot, 1902. 



CO&TON (William Robert), A. R. A. 

No. 1766. The (Mrdle. 

A life-sized figure of a woman seated upon a laige cushion 
covered by a brocaded robe, she is about to clasp the girdle round 
her waist ; her hair is arranged in a knot high on her head, it falls 
on either side almost over her ears ; the plinth is square, with the 
comers cut off ; it is inscribed, E. W. OOLTON, 1898. 

Bronze, 4 ft. 4 in. ^., 2 ft 8 in. Z., 2 ft. 6 in. w. 
Exhibited at the Boyal Academy in 1899. 
Chantrey Purchase, 1899. 

No. 1928. The Springtide of Life. 

A marble group of a young girl sitting on a rock supporting her 
little brother as he stands beside her, and bends forward watching 
the waves splashing around them. 

Serravezza marble, on a base of Siena marble, 4 ft. A. 
Chantrey Purchase, 1903. 



56 CONSTABLE. 

0OVSTABU3 (John), S.A. 

B. 1776. D. 1837. 

John Constable was bom at East Bergholt, Suffolk, June 11th, 
1776. His father intended him for the business of a miller, but 
Constable's taste for landscape painting early developed itself, and 
he resolved to be a painter. He became a student of the Boyal 
Academy in 1796, received some instruction in landscape painting 
from B. B. Beinagle, B A., and was much encouraged by Sir George 
Beaumont. In 1816 he married ; and from 1820 he resided at 
Hampstead, the beautiful neighbourhood of which chiefly occupied 
his pencil for the remainder of his life. He was elected a member 
of the Boyal Academy in 1829, having been for ten years an 
Associate ; and he exhibited altogether 104 works at the Academy. 
He died in London, the dlst of March 1837.^ Constable's land- 
scapes are conspicuous for the simplicity of their subjects, con- 
sisting generally of a cottage, a viUage church, or green, or the 
simple meadow ; some are distinguished by the effect of dew or 
rain. ** There is a place," says Mr. Leslie,f " among our painters, 
which Turner left unoccupied, and which neither Wilson, Gkins- 
borough. Cozens, nor Girtin so completely filled as John Constable. 
He was the most genuine painter of English cultivated scenery, 
leaving untouched its mountains and lakes." "I love," said 
Constable, " every stile, and stump, and lane in the viUage : as 
long as I am able to hold a brush, I shall never cease to paint 
them."t 

No. 1235a View oj the house in which the Artist woa 
horn. 

The house, which is of red brick, stands in the middle dii^tapfw 
surrounded by trees and outbuildings. 

On canvas, 8| in. A. by 2 ft. 2^ in. to. 
Presented by Miss Isabel Constable in 1887. 



* A Jfemoir of i\t Life of John Constable. Eeq^ 2Li., compoeed chUfty of hU 
Letter*, By O. B. Leslie, Esq., B.A. London, 1842. It contains twenty-two 
BngravingB from Constable's works. 

t Handbook for Touno Pafntert, 1865. 

X Mr, Uwins, in the Journal of the Phrenological Society, 184S. 



OOUSTABLE. 57 

> No. 1236. " The Salt Box,'' Hampstead Heath. -^^^ ' ^ ^ ^ 



A road crossing the foreground, bifurcates in the middle distance, 
and winds across the heath. On the left is an enclosure planted 
with trees, beyond which a house is seen. On the right a labourer 
empties his barrow on a hillock overlooking an extensive view of 
woodland and meadows. 

On canvas, 1 ft. 3| in. A. by 2 ft. 2 in. to. 
Presented by Miss Isabel Constable in 1887. 

No. 1237. View on Hampstead Heath. 

In the foreground is a grassy slope, skirted by trees ; to the 
right a wooded knoll, with a pool lying below. In the distance is a 
Tiew of the flat country, over which storm clouds are hanging. 

On canvas, 6^ in. h, by 12^ in. vo. 
Presented by Miss Isabel Constable in 1887. 

No. 1244a The Bridge at Oillingham. 

The bridge, carried on two stone arches, crosses a shallow stream 
In which a cow is drinking. Above, a cart and rustic figures pass 
along the road overshadowed by trees. In the distance is a church 
tower and some cottages. 

On canvas, 1 ft. A. by 1 ft. 8 in. to. 

Presented by Miss Isabel Constable in 1888. 

No. 1245- Church Porch, Bergholt, Suffolk. 

On the left of the foreground three figures are grouped about 
«ome tombstones in a village churchyard, separated by a low wall 
from a group of thickly-foliaged trees. On the right are the 
buttressed walls and porch of the church, skirted by a path which 
leads across the enclosure. 

On canvas, 1 ft. 5^ in. ^. by 1 ft. 2 in. vo. 
Presented by Miss Isabel Constable in 1888. 

> No. 1276> Harwich ; Sea and Lighthouse. _ L5I5_LAi_ 

On the right a low embankment separates the turf-covered 
downs from the beach where the tide is advancing. In the middle 
distance a wooden look-out house overlooks the sea, on which there 
are a few sailing vessels. From the horizon large cloud cumuli rise 
into a blue sky. 

On canvas, 12^ in. A. by 1 ft. 7^ in. to. 

Bequeathed in 1888 by Miss Isabel Constable as the ^ift of Maria L.^ 
Isabel, and Lionel B. Constable. 



58 COOKE. 

COOSLB (Edwasd W.), B-A. 
B. 1811. D. 1880. 

Edward William, son of George Cooke, who was of Dutch 
descent and weU known as an engraver of Turner's pictures, was bom 
in London in 1811. At an early age he became the pupil and assis- 
tant of his father, and while thus engaged was employed to make a 
series of illustrations for Loddige's "Botanical Cabinet" and 
Loudon's " Encyclopfedia.'' The study of plants and flowers which 
this work necessitated laid the foundation for a taste which he 
retained through life, and in conjunction with other researches in 
natural history led to his connexion with several scientific societies. 
Aiter acquiring a knowledge of architecture and perspective in the 
office of the elder Pugin, Edward Cooke published twelve large 
engravings of the Old and New London Bridges, and another series 
of plates illustrating "Shipping and Craft." Meanwhile he had 
decided to Become a painter, and in 1835 he exhibited for the first 
time two pictures at the Royal Academy entitled " Honfleur 
fishing-boats becalmed," " Havre in the distance," and " A Hay- 
barge off Greenwich." These were followed the next year by two 
English coast scenes, viz. : — "Mending the Bait Net, Shanldin," 
and a view on " Hastings Sands." 

Li 1837 Cooke went to Holland, to which he subsequently 
returned, at various intervals, no less than fifteen times, bringing 
back with him, on each occasion, a host of sketches in which 
architectural subjects alternated with studies of coast scenery, sea, 
and shipping. In 1838 he exhibited " Dutch Boats on the Y, near 
Spoomdam." In 1840 " The Pilot Boat " and a view of " Elizabeth 
Castle, Jersey." In 1842 "Scheveling Sands," "A Fisherman's 
Cove," and " Broeckenhaven on the Zuyder Zee." Between 1845 
and 1854 he executed about one hundred pictures on the Mediter- 
ranean coast from Marseilles to Psestum, besides views in Florence 
and Rome After a tour in Scandinavia he paid a series of visits 
to Yenice where he at first devoted his brush to architectural 
subjects, painting many of the principal buildings there with great 
fidelity. The waters of the Lagune, rich in picturesque fishing 
craft, next attracted him, and ifrom his gondola he made a vast 
quantity of studies which he afterwards turned to good account. 
Among his Venetian pictures at the Royal Academy were 
" BragozzL" exhibited in 1851, " The Doge's Palace" (1852), *'San 



COOKE. 59 

Pietro in Gastello," and '* San Giorgio Maggiore,*' and '* La Salute " 
(1853), <' Porto del Lido" (1854), the ''Biira degU Schiayoni" 
(1855), " The Dogana from the Palazzo Morosini," and " Ohioggian 
fishing vessels " (1856), " The Bridge of Sighs " and " Sunset on 
the Lagoon" (1858), "Venice" (1859), "The Piazzetta of San 
Marco " (I860). 

In 1861 Cooke went to Spain, and the next year exhibited 
yiews of the " Bock and Fortress of Alicante " and the " Bay of 
Tangier," the " Bay of Cartagena," followed by an elaborate study 
of the "Bock of Gibraltar" (1863). Meanwhile his frequent 
visits to Holland supplied him with endless subjects for sea-pieces 
and pictures of Dutch fishing craft, which appeared in rapid 
succession. A few years later he travelled in Egypt, and in 1875 
he exhibited a view of " The Mountains and Plain of Denderah on 
the Libyan bank of the Nile," in 1876 the " Buins of Kom-Ombo " 
and " Philse," and in 1877 " The Garden of the Khedive's Palace 
of Gezeereh." Cooke became an Associate of the Boyal Academy 
in 1851, and succeeded to full membership in 1864. In 1863 he 
was elected a Fellow of the Boyal Society. He was also a Fellow 
of the Linnasan, Zoological, Geographical, and Geological Societies, 
and an Honorary Associate of the Boyal Institute of British 
Architects. He died at his home, " Glen Andred," near Groom- 
biidge, on the 4th of January 1880. 

No. 447. Dutch Boats in a Calm. 

On wood, 1 ft. 4^ in. h. by 2 ft. 3 in. to. Signed, " E. W. Oooke. 1842." 

Engraved by T. Jeavons. 

Exhibited at the British Institution in 1844. 

Vernon Collection, 1847. 

No. 448. The Boat House. 

The boathouse is a cave hollowed out of the chalk cliff ; the 
fisherman is seen within the cave, attending to his fishing gear 

On canvas, 1 ft. 4^ in. ^. by 1 ft. 8^ in. w. 
Engraved by S. Bradahaw. 
Vernon Oolleotion, 1847. 

No. 1780. Ganal of the Qiudecca^ Venice. 

A wood barge and a brig with her white sails hanging loose to 
dry are in the centre of the composition. On the left is the 



€0 COOKE— COOPER. 

Pondamenia delle Zatfcere and the Ghuroh of I Gesuatd. In the 
distance on the right is the island of the Giudeoca with the 
churches of D Bedentore and Le Zittelle. The sky is ooveored 
with little fleecy clouds. Signed, E. W. Oooke, B.A., 1867. 

On oaDvas, 2 ft. 11 in. A. l^ 4 ft. 6 in. to. 
Bequeathed by Mr. Henry S. Ashbee, 1900. 

No. 180£. A Mill near Oxford. 

A water mill built principally of wood, with a red tiled roof, is 
on the further bank of the river, to the left a tall chimney and a 
i^ooden bridge. 

On wood, 9| in. h. by 1 ft. 1} in. to. 
Bequeathed by Mr. Henry Vaughan in 1900. 

No. 1968. Booty near Venice. 

A Venetian fishing boat tied to a post is shown aground on a 
shallow of the lagoon. The island of Lido, with the church of 
Sant' Elizabetta is seen in the distance, and on the left are the 
trees of the public gardens. Signed, E. W. Goake, A.B.A., 1858. 

On canvas, llf in. A. by 1 ft. i in. vo. 
Bequeathed by Mr. Charles Eraser in 1905. 



COOPBS (Thomas Sidney), &.A. 
B. 1803. D. 1902. 

Thomas Sidney Cooper was bom at Canterbury in September, 
1803. He made sketches at an early age, but at 12 years old he 
was obliged to learn coach-painting. Of his early struggles he 
lias given an account in his autobiography published in 1890. 
At the age of 17 he began scene-painting, and became acquainted 
with Doyle, scene-painter at the Canterbury theatre ; upon his death 
Cooper was appointed his successor. Cooper also worked for the 
Hastings theatre. He came up to London and became a student 
at the British Museum, and then a probationer at the Royal 
Academy Schools, subsequently obtaining a studentship which, 
owing to adverse circumstances, he was unable to take up. 
He practised portraiture and teaching in Canterbury. In 1827 
lie went with his friend Burgess for a trip to Dover, and, 
while there, was struck with the idea of going to the continent. 



COOPER. 61 

The two friends settled in Brussels and painted tayem and shop 
sigpiboards, and, afterwards, portraits. Here Cooper married Miss 
Charlotte Pearson, and settled down in the Bne d'Abrioot, where 
he added to his inoome by teaching. Daring his residence in 
Brussels he came under the influence of his Flemish prototype, 
YerboechhoYen, and turned his mind to animal painting. He 
returned to London during the Belgium Bevolution of 1830, and 
began his life's work, drawing the cows and sheep pastured in 
the Regent's Park. In 1834 he exhibited a picture at the Boyal 
Academy called " Milking Time : Study in a Farmyard near 
Canterbury " ; it was bought by Robert Vernon. From that 
date to the last years of his life he never missed having one or 
two, and in later years even more, pictures in the annual exhibi- 
tion. In 1845 he was elected an Associate, but was not elected 
full Academician until 1867 ; his diploma work was " Milking 
Time in the Meadows." He carried on the agreeable traditions of 
Cuyp, and avoided the sentimental view of animal life. His 
record of eighty working years probably exceeds that of any 
other artist. In 1882 he presented to Canterbury the Art 
Gallery which he had built in memory of his mother some years 
earlier. In 1848 he bought land at Harbledown and built himself 
a house called Vernon Holme, after his friend and early patron, 
Robert Vernon. In 1863, after being a widower for over twenty 
years, he married a daughter of Mr. W. Cannon, of Canterbury. 
In IdOl, bis Majesty the King personally presented Sidney 
Cooper with the decoration of a Commander of the Victorian 
Order. He died on February 7th, 1902, in his ninety-ninth year. 

No. 620. See under Lee (R. F.;. 

No. 1800. Landscape and Cattle. 

Cattle on the banks of a quiet river in a plain, lit up by warm 
afternoon sunlight. 

On panel 11^ in. h. by 1 ft. 4 in. w. 

Exhibited at the National Exhibition of Works of Art, Leeds, in 
1868. 

Bequeathed by Mr. Henry Vaughan in 1900. 

No. 1976- A Cow and two Sheejp. 

A cow and two Bheep are resting in a low-lying pasture by the 
rush-fringed arm of a placid river. In tbe distance over the 



62 COOPER— CORBET. 

water are some white-wasbed cottages and a windmill. Signed, 
T. S. Cooper, A.R.A., 1860. 

Water colour on paper, 8^ in. h. by 1 ft. to. 
Bequeathed by Mr. Charles Fraser in 1905. 



(Matthew Ridley), J^.It.A. 
B. 1860. D. 1902. 

Matthew Ridley Corbet was born at South Willingham, near 
Liincoln, on May 20th, 1^50. He was the son of the Rev. Andrew 
Corbet, the rector. He was educated at Cheltenham School, and 
designed to follow his elder brother to Woolwich. Seeing that the 
army was not his bent, he was put with a land agent, who soon said 
that his love for art was so great that it would be folly to prevent 
his following it ; so he came to London and joined David Cooper's 
class. He afterwards worked at the Slade School, University 
College, and at the Royal Academy bchools, but he was often with 
Mr. G. F. Watts, who influenced his work more than any other 
artist until he went to Rome in 1880, where he becanae known to 
Costa, whose sympathy and friendship became a chief factor in his 
after life. Corbet was devoted to Italy, and worked frequently 
at Bocca d'Arno, near Pisa. He was elected an Associate of the 
Royal Academy in 1902, and died at his house in St. John's Wood 
the same year. 

No. 1592. Morning Glory. 

The ruddy glow which precedes sunrise is seen in a strip of sky 
behind the dark hillside. To the left against the early light are 
seen the delicate branches of a wild crab tree hanging over a small 
pool ; a f oot'path leads past it to a wood on the hill. Painted 
near the Severn valley, not far from Bridgnorth. Signed, M. R. 
Corbet, 1893-4. 

On canvas, 4 ft. 1 in. ^. by 6 ft. 8 in. w. 

Exhibited at the Royal Academy in 1894. 

Chantrey Purchase, 1894. 

No. 1899> Val d'Arno: evening. 

A view of the valley of the Arno from the terrace of the 
Yilla Tolomei beyond Billosguardo, to the south of Florence 



CORBET— COSTA. 63 

A. lady in a parple cloak is looking over the parapet wail, which 
is decorated with two statues. To the left, on a little hill, 
covered with olive gardens and cypress trees, is the village of 
Sofi&ano. The wide prospect is dotted with farms and villas. 
Signa is in the distaiioe on the left. Further away the bine 
mountains near Pisa rise from the plain, and the peaks of Carrara 
cut sharply against the red after glow in the sky. 

On canvas, 2 ft. 11| in. ^. by 6 ft. 10^ in. to. 
Exhibited at the Boyal Academy in 1 901. 
Ghantrey Purchase, 1901. 



COSTA (Giovanni). 

B. 1826. D. 1903. 

Giovanni, or, as his friends called him, Nino Costa was born at 
Rome in 1826 of one of those powerful industrial families who 
wield almost feudal power in Trastevere. When he began to 
study art he joined those who rebelled against the academical 
teaching of the day, which followed the traditions of the decadence 
of Roman art. When barely twenty-two years old he joined the 
Roman Legion that went to fight the Austrians in the Yeneto, 
and was seen with banner and drum inciting the young men 
to join in this attempt to realize the dream of united Italy. 
He was out also in '49 at San Pancrazio amongst the volun- 
teers of the University Legion. After the fall of the Repub- 
lic, Costa retired to the Alban Hills and returned to his art, 
studying the Campagna at the same time as Lord Leighton, who 
was a devoted friend to Costa to the end of his days. In 1859 he 
joined the Genoese Cavalry as a volunteer, so that after the peace 
of Yillafranca he was, as a suspect, unable to return to Rome, and 
established himself at Florence, joining a group of young artists 
who went by the name of the " Macchiaiuoii,*' and helped to found 
the '* Gazzettino Artistico,'* a most vehement advocate of ideal 
art. He was amongst the first of the Italian troops to enter the walls 
of Rome on the famous 20th September, 1870, and, the dream of 
united Italy lealised, he again took up his place among the artists. 
Costa discouraged the commercial spirit in art and published with 
Senator Monteverde an appeal for liberty and artistic sincerity. 
He assisted in the organisation of the "Scuola Etrusca," and in 
1885 was placed at the head of the society called '* In Arte Libertas," 



€4 COSTA— COWPER. 

whioh all the younger generation of artists followed. British 
artists always received a welcome and kindly advice in Costa's well- 
known stadio in the Yia Margntta, Borne. He died en the 31st 
January, 1903, at Booca d'Arno, where he loved to work and study 
the forms of the neighbouring marble mountains of Carrara, and 
where many of our ajrtists followed him and studied bis ideals. 

No. 1493- Landscape^ with a View of the Carrara 
Maintains. 

Painted in the district of Bocca d'Amo, Italy, overlooking an 
undulating plain, with olive trees in the foreground and pine woods 
in the middle distance. The effect is that of early dawn. The 
rising sun has just tinged with rosy light the topmost peaks of the 
Carrara range, which rises in a mass of pale violet colour against 
the sky. 

On canvas, 2 ft. 2^ in. h, by 5 ft. 1§ in. w. 
Presented by a Body of Subscribers, in 1897. 



OOWPfiR (Frank Cadooan), A.R.A. 

No. 1961>* St, Agnes in Prison receiving from Heaven 
the Shining White Oarment. 

'* And thus St. Agnes that refused to do sacrifice to the idols, was delivered 
naked to go to the bordel, bnt anon as she was uncloathed God gave her such 
grace that the hairs of her head became so long that they covered all her 
body to her feet, so that her body was not seen. And when St. Agnes entered 
into the bordel anon she found the Angel of God readv for to defend her, and 
environed St. Agnes with a bright clearness in such wise that no man might 
see her ne come to her. Then made she of the bordel her oratory, and in 
making her prayers to God she saw tofore her a white vesture, and anon 
therewith she clad her and said : I thank the Jesu Christ which accountest me 
with thy Virgins and hast sent me this vesture."— Tft« Golden Legend, or Lives 
of the Saints as Englished by William CaxUm. 

The Roman maiden is seated in the comer of a stone cell at the 
top of a winding stairway, her auburn hair covering her nakedness, 
the floor is strewn with straw and in the foreground there is a loaf 
of bread which a mouse is nibbling and a bowl glazed inside with 
blue for water. An angel in rose-coloured raiment and with white 
wings descends from heaven with the shining white garment. 
Through a narrow window barred with iron on the stairway a flock 
of sheep and lambs, the attribute of the saint, are seen at pasture. 
Signed F. C. Cowper, 1905. 

On canvas, 2 ft. 5 in. A. by 1 ft. 5^ in. w. 
Ohantrey Purchase, 1905. 



cox. 65 

COZ (David). 

B. 1783. D. 1869. 

David Cox was bom at Deritend, Dear Birmingham, on the 
29th of April, 1 783 ; his father was a whitesmith, and he began 
work in his father's trade, bnt as he was not considered strong 
enough to wield the hammer he was apprenticed in 1798 to 
a maker of lockets and brooches, which he adorned with miniature 
designs. 'As his master died soon after this he had to find work: 
elsewhere, and became colour-grinder to the scene-painter of the* 
Birmingham Theatre, soon rose to assist in the painting, and 
on one occasion, designed and executed all the scenery for a new 
play ; but he was much disappointed to find the authorship 
attributed to an imaginary artist of London fame. Shortly 
afterwards, in 1804, he came to London, and worked temporarily 
in the scenic department of Astley's Theatre. As soon as he 
could he settled down quietly at Dulwich, and earned a scanty 
income by teaching and making sketches, which he sold for a few 
shillings each. In 1805 he took his first trip to North Wales, 
which was ever after his favourite haunt ; for years he frequented 
the little Inn at Bettws-y-Coed, * The Oak' ; there he painted 
" The Boyal Oak/' the signboard which was the subject of lawsuit 
in 1880. Ooz was elected a member of the Society of Painters in 
Water Colours in 1815. He was about this time appointed drawing 
master to the MUitary College at Famham, but gave it up and 
went to live at Hereford, in 1814, and the same year published a 
" Treatise on Landscape Painting and Effect in Water Colour." He 
returned to London in 1827, and finally retired to Har borne, near 
Birmingham, in 1841, where he died on the 7th of June, 1859. 
David Cox painted in oils as well as in water colours ; fifty-seven 
of his oils were exhibited in Liverpool in 1875. Forty-two water 
colour drawings were bequeathed to the British Museum by 
Mr. John Henderson, and may be seen in the Print Boom, and 
there are twenty-two belonging to the Collection at the Victoria 
and Albert Museum, South Kensington. His friend Edward 
Baddyffe, the engraver, began a series to be called the " Cox Liber 
Studiorum," but he died after publishing only three plates, 
" Dudley Castle," ** Outskirts of a Forest," and " Bala Lake." 

(B.A.) E 



66 COX— CRAIG. 

No. 1734- Sketch of Harlech Castle^ Wales. 

The ruined castle, dark against the sky, stands on a promontory 
to the left, the sea and distant mountains are on the right. Some 
men landing fish from a boat occnpy the foreground. 

Water colour, 6 in. A., by 1 1 in. lo. 

Presented by Miss Gk)rdon. 

No. 1735- Sketch of a Harbour, 

A wooden pier is on the left, fishing smacks with their sails 
spread and a horse and cart on the beach carrying fish from 
a boat are on the right. 

Sepia, 3 in. h, by 9 in. w. 

Presented by Miss Gordon. 

No. 1736- Beckenham Churchy Kent. 

An interior, looking towards the chancel. Over the communion 
table, in an elaborate frame, are two slabs containing the ten 
commandments. The church is furnished with high pews, and 
there is an old-fas}iioned pulpit with a sounding board and a 
clerk's desk on the left. 

Water colour, 9 in. h.hy 11 in. u>. 

Bequeathed by Miss Julia E. Gordon. 



Caaza (Frank). 
No. 207 1-* The Heretic, 

The scene is the street of a medissval town. The " heretic," a 
young woman wrapped in a white sheet and holding a candle, heads 
a procession which advances towards the spectator. To the right 
of her an ofii er of just'ce, in scarlet, carries the warrant for her 
execution. Further to the right walks the gravedigger with his 
tools. Other fit<uie8 in mouk's dress accompany her, one of them 
upholding a cross. Soldiers keep back the crowd, which presses 
forward on all sid< s. In the background appear some figures in 
modern dress, among them a portrait of the artist. Signed 
Frank Craig, 19U6. 

Canvas, 2 ft. 8 in. ^. by 4 ft. 10 in. w. 
Exhibited at the Boyal Academy, 1906. 
Ohantbet Pubghasb. 1906. 



\ 



CRESWICK— CROME. 67 

C&BSWXO& (Thomas), A.A. 

B. 1811. D. 1869. 

Thomas Creswick was bom at Sheffield in 1811, bat oame very 
joang to London ; he had as early as 1828 two landscapes in 
the Boyal Academy Exhibition, views in Wales, the theatre of 
many of his subsequent views. He became an associate of the 
Academy in 1842, and a member in 1850. As specimens of his 
works may be mentioned — " England," 1847 ; " Passing showers," 
1849 ; " The wind on Shore," '' First Glimpse of the Sea," and 
'* Old Trees," 1850 ; '' A Mountain Lake— Moonrise," 1852 ; and 
" Changeable Weather," 1865. Creswick's pictures are numerous, 
tibe later being less pronounced in colour than the works of his 
middle period. He suffered latterly from failing health, and died 
at Bayswater on the 28th December 1869. 

No. 429. T?ie Pathway to the Village Church. 

A woody sunny landscape, with a young girl about to pass a 
stile in the foreground. Beyond the stile the pathway leads over 
a rising ground, and several rustic figures are seen gomg up the 
hill. 

Painted in 1839. 

On wood, 1 ft. 11^ in. h, by 1 ft. 7^ in. w. 

Engraved by J. 0. Bentley. 

Vernon Collection, 1847. 

No. 1785> Landscape and Biver. 

A clear mountain stream with a stoney bed, fringed with woods 
flows through a hilly country ; a girl with a dog crosses the ford in 
the foreground. Purchased by Mr. Yaughan in 1853. Signed, T. 
Oreswick. 

On canvas 1 ft. 8| in. h. by 2 ft. 3^ in. to. 

Bequeathed by Mr. Henry Yaughan in 1900. 



CaOMfi (John). 
B. 1769. D. 1821. 

John Orome, oommonly called Old Crome, to distinguish him 
from younger painters of tiie name and family, was born at Norwich 

(B.A.) B 2 



68 CROME— DANBY. 

where his father kept a public-house^ December 21st, 1769, and 
was brought up as a coach-painter ; this occupation, however, 
he soon forsook for that of a drawing master, devoting his 
leisure time to making sketches in oil colours, chiefly in the 
vicinity of his native city. The materials of Crome*s pictures 
are generally exceedingly simple, but he has often produced an 
admirable effect with them. He exhibited occasionally at the 
Royal Academy in London ; twelve of his works were hung 
between the years 1807 and 1818 inclusive ; all of these were 
" views " or " landscapes " with one exception, in 1809, when he 
exhibited a " Blacksmith's shop." In 1803 he and other young 
artists and amateurs founded " The Norwich Society of Artists.'' 
Their first exhibition was held in 1805, and at this twenty- three 
works were contributed by John Crome. In 1810 he was made 
President of this Society. He died at Norwich in 1821. 

— ^No. 1804. Near Hingharriy Norfolk. 

Two oak trees, by the road side, dominate the picture on the 
left ; a pond to the right reflects some old oak palings, and three 
stunted oaks growing in a low thorn hedge ; the sky with heavy 
clouds forms the background. 

On canvas, 2 ft. \ in. K by 2 ft. 8^ in. w. 

Etched by the master himself on a copper, signed at the top, J. Crome 
1813, and inscribed below, " near Hingham." 

ESngraved on wood by T. Cole. 

This picture has been in the coUectionfl of Joseph Gillott, Esq., and of 
flCadame BiechofPsheim. 

Tate Gift 1894. . 



(Francis), A.R.A. 

B. 1793. D. 1861. 

Francis Danby was born in the county of Wexford, in Ireland, 
November the 16th, 1793 ; he was educated in Dublin, and there 
learnt his art under a landscape painter of the name of O'Connor. 
He exhibited, and sold his first picture in 1812. In 1813 he was 
established as a teacher of water colour drawing at Bristol. He 
eventually attracted public notice by a picture of '^ Sunset at 



DANBY— DAVIS. 69 

Sea after a Storm/' exhibited at the Royal Academy in 1824 ; 
it was purchased by Sir Thomas Lawrence. In the following 
year Danby rem<)yed to London, and exhibited a still more re- 
markable work, " The Delivery of Israel oat of Egypt," which 
procured him his election as an Associate of the Academy, in 
1825. This picture, now at Stafford House, and several others 
afterwards painted by Danby, are in the style of John Martin's 
extraordinary compositions. Danby is, however, most distin- 
guished for his calm evening scenes at sea, generaUy sunsets, 
under various aspects, frequently combined with some poetic 
subject, incident, or sentiment, and nearly always conspicuous for 
their brilliant colouring, such as " The Painter's Holiday," exhibited 
in 1844, and " The Evening Sun : A Calm on the Shore of Eng- 
land," 1848. From 1830 tiU about 1842 he resided abroad, chiefly 
in Switzerland ; he then lived for a short time near Lewisham, 
in Kent, and from 1846 near Exmouth, in Devonshire, where he 
died on the 10th of February 1861.^ Danby contributed forty- 
nine works to the exhibitions of the Royal Academy. 

No. 437. The FishsrmarCs Homey Sunrise, 

At the foot of a rocky promontory in a lake which projects in a 
dark mass against the glow of the sunrise is seen a fisherman's 
cottage. Nearer to the foreground is a man in a boat preparing to 
put off from the shore. 

On canvas, 2 ft. 6 in. A. by 3 ft. 6 in. u;. 
Engraved by A. Willmore. 
Exhibited in 1846. 
Vernon Collection, 1847. 



(Henry William Banks), R.A. 

No. 1528-* Mother and Son, 

A mare and foal stand in the sunlight on a breezy cliff-top, 
green and purple sea behind them. Signed, H. W. B. Davis, 1881. 
On canvas, 1 ft. 8 in. h. by 2 ft. 6 in. to. 

Exhibited at the Boyal Academy in 1881, and at an exhibition 
of piotnfes by Modem English Animal Painters, held in the city of 
Birmingham in the year 1892. 

Tate Gift, 1894. 

* Art Journal April 1861. Boual Academy Catalogues. 



70 DAVIS— DELAROCHE. 

No. 1608-* Returning to the Fold. 

In an open landscape a flock of sheep are passing over a hiU- 
side, feeding as they go. On the right is a lamb nibbling at a 
bramble leal. To the left is a shepherd in a light cloak and round 
hat, with his two dogs beside him ; his figure is seen against the 
warm sunset light, which illumines the sky behind a group of 
elms surrounding a church in the distance. Signed, H. W. B. 
Davis, 1880. 

On canvas, 2 ft. 2f in. h. by 3 ft. llf in. to. 
Exhibited at the Royal Academy in 1880. 
Chantrey Purchase, 1880. 

No. 1774i* Approaching Night. 

Over a low hill on the right the moon is seen breaking through 
the clouds of a mackerel sky. In the darkened landscape are 
visible a shepherd's hut with a shepherd watching his flock, and a 
waggon passing along the road. On the hills in the mid-distance 
are figures of men burning weeds, and a group of cows descending 
from the high ground. 

On canvas, 1 ft. 10 in. h. by 3 ft. to. 

Exhibited at the Boyal Academy in 1899. 

Chantrey Purchase, 1899. 

No. 1782.* After Sunset. 

Some cattle in a water meadow just after sunset. The rosy glow 
in the sky is reflected in the stream on the left, a village with red 
roofed cottafi[es backed by rising ground can just be distinguished 
in the fading light. Signed, H. W. B. Davis, 1900. 

On canvas, 4 ft. 11^ in. h, by 7 ft. 11 in. to. 

Exhibited at the Royal Academy in 1900. 

Presented by Mr. H. W. B. Davis in 1900. 



(Paul). 

B. 1797. D. 1866. 

Hippolyte, or, as he usually called himself, Paul Delaroche was 
bom in Paris on July 17th, 1797. He first studied landscape 
painting under Watelet, but afterwards turned to history, and 



DELAROCHE. 71 

entered the studio of Baron Gros, where he worked for four years 
studying the figure. He rebelled against the classic school of 
France, but took up a position as it were midway between the 
classic and romantic masters. His first picture was exhibited in 
1819, " Napthali in the Desert," painted when he was twenty -two 
years old. In 1824 he produced three pictures, which won for him 
a gold medal : ^' St. Yincent de Paul preaching in the presence of 
the Court of Louis XIII.," " Joan of Arc examined in Prison by 
the Cardinal of Winchester," and " St. Sebastian." In 1827 ** The 
Capture of the Trocadero " appeared, a work commissioned by the 
Government of France, and for which he received the Crofis of the 
Legion of Honour. In 1833, under the ministry of M. Thiers, 
Delaroche was commissioned to decorate the Church of the 
Madeleine, but on hearing that part of the work had been confided 
to another hand, he, thinking the work should be by one hand 
only, returned the money advanced and resigned the task. In the 
same year he was appointed a professor at the Ecole des Beaux- 
Arts, and he devoted four years to the decoration of the amphi- 
theatre of the school. All branches of art find representations in 
the " Hemicycle." It was engraved by Henriquel-Dupont. The 
work was badly damaged by fire in 1855. Delaroche contemplated 
restoring it Mmself, bufc he was prevented by his death, which 
occurred in Paris on the 4th of November, 1 856. The *' Hemi- 
cycle" was afterwards restored by Robert-Fleury. When the 
works of Delaroche were collected in the Palais des Beaux- Arts in 
1858, none excited more praise than his portraits. The most 
famous are the M. de Bemusat, the Duke of Noailles, Prince Adam 
Czartoryski, M. de Salvandy, and M. Thiers. 

No. 1909. The Execution of Lady Jane Or ey. 

Lady Jane Grey, the great grand-daughter of Henry YII., was 
executed in the Tower of London on the 12th February, 1554, 
in the seventeenth year of her age, for high treason. 

She was persuaded, much against her will, to accept the crown, 
and was Queen for nine days. 

The pale blind-folded victim, who wears an under-dress of white 
satin, is being gently guided by the grey-headed Lieutenant of 
the Tower to kneel in front of the block. Two of her ladies, 
who have helped her to disrobe, overcome with emotion lean 
against a pillar to the left. The executioner, in red, with rope 



72 DBLAROCHE— DIXON. 

and dagger, stands on the right, fingering the handle of his axe. 
Beyond the black scaffold are seen the halberds of the guard. 
Signed, Paul Delaroche, 1833. 

On canvas, 8 ft. 1 n. A. by 9 ft. 9 in. to. 
Bequeathed by Lord Cheylesmore, 1902. 



DZCX.SBB (Frank), &.A. 
No. 1587. Harmony. 

Against the light of a stained glass window which forms the 
bacl^round of the picture, a young maiden in a mediaoval 
costume of yellow and purple silk is seated playing on a carved 
and painted organ. A young man seated near her leans over the 
instniment listening and gazing with rapt attention. Signed, 
PRANK DIOKSEE, 1877. 

On canvas with an arched top, 5 ft. 1^ in. A. by 3 ft. | in. to. 
Exhibited at the Royal Academy in 1877. 
Etched by Charles Waltner. 
Ohantrey Porchase, 1877. 

No. 1839.* The Two Crowns. 

A young king in golden armour mounted on a white charger 
enters the gate of his city, with banners waving in triumph, at the 
head of his victorious men-at-arms ; he sees a bronze crucifix, the 
crown of thorns contrasting with the crown of gold that encircles 
his helmet. Gaily dressed maidens crowned with chaplets of 
rose and anemone s^ew flowers in his path, and other ladies shower 
down roses from a balcony high up on the left. Signed, Frank 
Dicksee, 1900. 

On canvas 7 ft. 7 in. h. by 6 ft. to. 
Exhibited at the Royal Academy in 1900. 
Ghantrey Purchase, 1900. 



DXZON (Habry). 

No. 1705. Lions. 

, ** Thou makest darkness, and it is night, wherein all the beasts of the forest 
do creep forth. 
** The young lions roar after their prey, and seek their meat from God." 

Paalm CIV., verses 20-2L 



DIXON— DOUGLAS. 73 

A lion, a lioness^ and a cub are leaving their rooky fastnesses for 
the wide moonlit desert. Signed, H. Dixon, 1891. 

Water-oolonr, 2 ft. 1^ in. A. by 3 ft. 10| in. to. 
Exhibited at the Royal Academy in the same year. 
Ghantrey Purchase, 1891. 



- DONA&DSON (Andrew B.). 
No. 1723> Puente San Martin^ Toledo, 

Pnente San Martin consista of one fine pointed central aroh with four 
smaller arches. It was bnilt in the thirteenth centnry, and was broken in 1368 
by Henry of IVastamara, and repaired by Archbishop Tenorio, a kinsman of 
" Don Juan " and a trne Pontilex Mazimos. In the tower is a statue of San Julian 
by Monegro. The bridge is very narrow and is greatly elevated above the level 
of the river Tagos on account of the occasionskl floods which rush down th e 
rocky gorge, on the right crest of which towers the grand old city. There are 
some remains of the piers of an older, and perhaps, a Boman bridge."— 
Murray' t Handbook ofSpain^ by Blehard Eord. 

The old bridge over the Tagus, with Moorish towers at either 
end, is viewed from the road leading from Toledo. Below the 
parapet, which is decorated with stone balls, are seen the 
buttresses of the bridge and the river. A woman with a red 
handkerchief on her head is seen in the road, and a muleteer is 
riding under the archway, and three mules and their driver can 
be seen in the distance beyond the bridge. The sky is blue, with 
clouds, and the picture is represented in bright sunshine. Signed, 
AB. D. 1889. 

Water colour, 2 ft. IJ in. k, by 1 ft. \ in. w. 

Exhibited at the Institute of Painters in Water Colours, in 1890. 

Presented by Miss Louisa Twining, in 1899. 



DOVOXiAS (Edwin). 

No. 1558- Mother and Daughter. 

A Jersey cow and calf are standing in water under the shade of 
a tree on a summer*s afternoon. Signed with initials, which are 
represented as carved in the tree trunk, E. D., 1875. 

On canvas, 4 ft. 7| in. A. by 3 ft. 7^ in. w. 
Exhibited at the Royal Academy of Arts in 1876. 
Tate Gift. 1894. 



74 DRAPER— DYCE. 



(Herbebt James). 

No. 1679.* The Lament for Icarus. 

The dying Icarus is lying -upon a rock where the tide has left him. 
Hip head is supported by a water uymph, who sings a dirge to 
the aocompaniment of a lyre played by the nymph at her side ; 
a third nymph from the water and weeds below clambers on to the 
rocks CO gaze upon the hero. The right wing of Icarus is held 
erect by the rocks, the left wing is partly folded ; the larper 
feathers are of a sombre blue colour, dark against the sunlit cliffs 
and sea beyond. The setting sun and the falling tide symbolise 
the ebbing of the life and hope of Icarus. 

''Icarus, a son of DsBdaJtis, who, with his father, fled from Orete to escape 
the resentment of Minos. His flight being too high, proved fatal to him. The 
snn melted the wax which cemented his wings, and he fell into that part of 
the £gean Sea which was called after his name."— X«m|>H^«. 

On canvas, 5 ft. 11^ in. A. by 5 ft. w. 

Exhibited at the Royal Academy, the Walker Art Gallery, Liverpool, 
and at Leeds in 1898. 

Ohantrey Purchase, 1898. 



CAlfbed), A.&.A. 

No. 1757. Qriselda, 

A bronze bust of a young girl. On the bronze pedestal is a 
small four- winged cherub, the head concealed to indicate her 
story of hidden love. Inscribed, A. Dbuby, 1896. 

1 ft. 9 in. h,, including the Devonshire green marble base, which is 
1 ft. 6 in. I. by 9 in. w. and 1^ in. h. 

Exhibited at the Royal Academy in 1896. 

Ghantrey Purchase, 1896. 



(William), &.A. 
B. 1806. D. 1864. 

William Dyce was bom at Aberdeen in 1806, and educated at 
Marischal College. Having determined at an early age to adopt 
the profession of a painter, he entered the Schools of the Boyal 
Scottish Academy at Edinburgh, and afterwards of the Boyal 



DYCR 76 

Academy in London. These studies were in due course followed 
up by Continental travel. Young Dyce paid two visits to Rome, 
where he remained for some time before returning to settle at 
Edinburgh in 1830. There he followed the practice of a portrait 
painter with such success that he was elected an Associate of the 
Scottish Academy in 1835. Two years later he published a 
pamphlet on the subject of Art-education which attracted con- 
siderable notice, and when the Government Schools of Design 
were established in this country, Dyce was appointed at the 
head of their administration. He entered into the State com- 
petition for the decoration of the new Houses of Parliament, 
painted the *^ Baptism of Ethelbert " in the House of Lords 
(1846), and a series of frescoes in the Queen's Robing Room 
illustrating the life of King Arthur, which he left incomplete at 
his death. He was also commissioned to execute mural paintings 
for Her Majesty at Osborne and Buckingham Palace, and he 
carried out a series of frescoes in All Saints, Margaret Street. 
Dyce was a constant exhibitor at the Royal Academy, of which he 
became an Associate in 1844, and a full member in 1848. He was 
an accomplished musician and composer of church music ; in 1843 
he .published in two quarto volumes "The Book of Common 
Prayer with the ancient Canto Fermo set to it at the Reforma- 
tion," with two dissertations on that kind of music. For this 
work he received the Prussian Gold Medal for Science and Art 
from the King of Prussia. He died in 1864. 

No. 1407. Pegwell Bay, 1858. 

A view of the sea shore at low tide, with evening light reflected 
from the sun, which is setting behind clouds. In the foreground 
are seen three ladies. The first on the right is the artist's wife ; 
the next, Miss Grace Brand, and the one picking up shells. Miss 
Isabella Brand, her sisters ; further to the left stands a boy with 
a toy spade. The middle distance is intersected by low ridces of 
rock stretching out seaward. Beyond them rise the chalk cliffs of 
the Bay, crowned with verdure. In the centre of the sky above 
may be discerned the great comet of the year in which the picture 
was painted. 

On canvas, 2 ft. ^ in. h, by 2 ft. \0\ in. to. 

Exhibited at the Royal Academy in 1860. 

Purchased at the sale of Mr. J. Brand's Collection, at Christie's, 1894. 



76 DYCE— EASTLAKE. 

No. 14I26« St. John leading the Blessed Virgin Mary 
from the Tomb. 

The Eyangeliflt, standisg in the foreground, clad in a dark grey 
robe, with dnib-colonred c&apery wrapj^ round the lower ^lart of 
his body, leads the Blessed Virgin Mary, who walks by his side 
draped in a crimson robe and dark blue mantle. In the middle 
distance, on the left of the picture, is a garden enclosing the Holy 
Sepulchre, at the entrance to which two of the holy women kneel 
mourning, while two male fisures (Nicodemus and Joseph of 
Arimathea ?) are seen leaving the garden. This picture was Deffon 
in 1844, but was not exhibited until 1860, when it was called in 
the catalogue '* St. John leading home his Adopted Mother.** 

On canvas, 2 ft. 6| in. A. by 3 ft. 6 in. %o. 
Exhibited at the Royal Academy in 1860. 
Presented to the National Gallery by an Anonymous Donor in 1894 



(Josef Laubens). 
B. 1811. D. 1888. 
J. L. Dyckmans (of the Flemish School) was born at Lierre in 
1811, was a pupil of Tielemans and Wappers, became Professor in 
the Antwerp Academy, and dieH in 1888. 

No. COO. The Blind Beggar. 

A blind man is standing against the side of a gothic porch, at 
the foot of some stone steps leading to the door of a church. A 
little girl who is leaning a^ectionately against him holds out her 
hand for alms. Within the doorway is seen a crucifix lighted by a 
lantern, before which a woman is kneeling, and another woman 
holding a prayer-book is about to descend the steps. Signed, 
J. Dyckmans, 1853. 

On wood, 19| in. h, by 18 in. w, 

Bngraved by W. H. Simmons. 

Painted at Antwerp. There is a version in the Antwerp Museum. 

Bequeathed by Miss Jane Clark in 1859. 



(Sir Charles L.), F.&.A. 
B. 1793. D. 1866. 

Charles Lock Eastlake was bom on the 17th of November 
1793, at Plymouth, where his father held the office of 



EASTLAKE. 77 

solicitor to the Admiralty. He was educated at the Plympton 
Grammar School, and he passed a short time at the Oharterhonse 
School in London. About 1809, partly through the influence of 
his fellow townsman, B. B. Haydon, he determined on painting for 
a profession, became a pupil of that mafi|ter, and also attended the 
schools of the Boyal Academy for a few years, during the keeper- 
ship of Fuseli. 

As early as 1813 the young painter exhibited an ambitious effort 
at the British Institution : — " Christ raising the daughter of the 
Buler of the Synagogue.*' 

In 1814, after the peace, he was sent by Mr. Jeremiah Harman 
to Paris to copy some of the remarkable works that had been 
gathered together by Napoleon in the Louvre ; but the escape of 
the Emperor from Elba in the following year caused him to return 
home again, and for a time he devoted himself to the study of 
portrait painting at Plymouth. 

In 1817 he went to Italy, being one of the first English artists 
to visit Bome after the peace ; and in 1819 he visited Greece, in 
the company of Sir Charles Barry and Mr. Donaldson, returning 
in the following year to Bome by way of Sicily. He remained in 
Italy altogether fourteen years, his time being spent chiefly at 
Bome and Ferrara. 

His name first appeared in the Academy catalogue in 1823, but 
the first of Eastlake's works which attracted any considerable 
notice was "The Spartan Isidas," exhibited in 1827, which pro- 
cured him his election as an associate of the Boyal Academy. 
In 1829 he exhibited a poetical landscape, entitled "Lord 
Byron's Dream," and in the following year he became an acade- 
mician, retarned to England, and established himself in London. 

Sir Charles Eastlake's pictures are not numerous. He was too 
much engaged in literature and with other occupations to admit 
of a very close application to the practice of his profession. In 
1850 he succeeded Sir Martin Sbee as President of the Academy, 
and was knighted by Queen Victoria. 

In 1841' he was appointed secretary to the Boyal Commission 
for decorating the New Palace of Westminster, and conducted all 
the business of that Commission until its dissolution after the 
death of the Prince Consort. The papers or appendices 
accompanying the periodical Beports of the Commissioners, 
written or collected and edited by the secretary, are valuable 



78 EASTLAKE. 

€Oiitribation8 to the practical literature of art. He had pre- 
viously written a few articles for the Penny CyclopcRdia ; 
and in 1840 he published a translation of Goethe*s Theory of 
Colours^ with a dedication to his friend and patron, Mr. Jeremiah 
Harman. In 1842 he edited a translation of Kugler's Italian 
Schools of Painting ; but his chief literary labour is the Materials for 
a History of Oil Painting^ 1847, dedicated to the late Sir Robert 
Peel, a storehouse of research into the methods and Tehiclea 
employed in painting. 

On the death of Mr. Seguier, the original keeper of the National 
GbJlery, in 1843, Sir Charles (then Mr.) Eastlake was appointed to 
succeed him. This office, however, he resigned in 1847. In 
1850, as President of the Royal Academy, Sir Charles became an 
gX'Officio Trustee ; and in 1855, on the re-organisation of its 
management, he was appointed Director of the Gallery for five 
years, an appointment which was renewed in 1860, and in 1865. 
Parliament now voted an annual sum for the purchase of pictures ; 
and the consequence has been a steady increase of the collection, 
independent of gifts and bequests. 

In 1849 Sir Charles married Elizabeth, daughter of the late 
Dr. Rigby. In 1853 he received the honorary degree of D.C.L. 
from the University of Oxford, and in 1855 he was made a Chevalier 
of the Legion of Honour by the Emperor of the French. He was 
a Fellow of the Royal Society, and a member of several foreign 
Academies. 

In 1865, on his usual annual Continental tour, he was 
attacked by severe illness, and on the 24th of December he died, 
at Pisa, in his 73rd year. His body was brought to England, by 
desire and at the cost of the Royal Academy ; and on the 18th of 
January 1866, was buried in Kensal Green Cemetery. 

No. 397. Christ lamenting over Jerusalem. 

** Oh Jemsalem, Jernaalem, thon that killest the prophets, and stoneet them 
which are sent onto th«e, how often would I have gathered- thy children 
together, even as a hen gathereth her chickens under her wings, and ye would 
not I Behold, your hoase is left onto yon desolate."— ifa^^T^^u; xziii., 37, 38. 

Our Lord is seated, with his hands clasped, on a stone under the 
shade of some olive trees, and his regard is turned to his left 
towards Jerusalem, seen in the distance below ; on his right near 
him are seated Peter and another Disciple, and John and two 



EASTLAKE. 79 

more are standing a little behind ; all under the shade of the olives. 
The Disciples are grouped around, and in the background are' 
accessories suggestive of the text quoted above. 

On canvas, circular top, 8 ft. 2 in. K by 4 ft. 10^ in. ta. 

Engraved by S. Cousins, R.A. ; and by J. Outrim. 

A repetition of the picture exhibited at the Royal Academy in 1841. 

Vernon Collection. 1847. 

No. 398. Haidee, a Greek Qirl. 

Bust, life size. 

On canvas, 2 ft. 1 in. h, by 1 ft. 8 in. w. 
Engraved by R. Graves, A.R.A. 
Exhibited at the Royal Academy in 1831. 
Vernon Collection, 1847. 

No. 399. Escape of the Garrara Family from the 
Pursuit of the Duke of Milariy 1389. 

Francesco Novello di Carrara, last Lord of Padua, is conducting 
his wife, Taddea d'Este, seated on an ass, over a mountain pass, 
in order to escape from the followers of Giovanni Galeazzo 
Yisconti, Duke of Milan, who are in sight in the valley below. 
Sismondi, Eistoire des R^bliques Italiermes du Moyen Age, 
oh. iii. 

On canvas, 4 ft. 2 in. h. by 3 ft. 4 in. «?, 
Engrated by F. Bacon ; and by S. Smith. 
Exhibited at the Royal Academy in 1850. 
Vernon Collection, 1847. 

No. 898. Lord ByrorCs Dream. 

A Greek landscape, with mountains, and a view of the sea. 

** In the last he lav 
Reposing from the noontide sttltriness 
Oonehed among fallen colnmns in the shade 
Of mined walls that had survived the names 
Of those who reared them ; by his sleeping side 
Stood camels grazing, and some goodly steeds 
Were fastened near a fountain ; and a man 
Olad in a flowing garb did watch the while, 
While many of his tribe slumbered around '* 

On canvas, 3 ft. 9 in. h, by 6 ft. 6 in. w. 

Engraved by J. T. Willmore, A.RJI. 

Painted in Rome in 1827 for Earl Leven and Melville : exhibited at 
the Royal Academy in 1829. 

Bequeathed by Mr. Thomas Howard in 1872. 



^ I 



80 EASTLAKE— EDWARDS, 

No. 1395. Portrait of Mrs. Charles H. Bellenden Ker. 

Life sue ; dressed as an Italian peasant girl in a plum-coloured 
▼elvet bodice, red skirt, short sleeves of lilac-coloured satin, and a 
shoulder knot of white silk ribbons. Background of blue sky 
crossed by light clouds. 

On canyas, 2 ft. 5} in. h. by 2 ft. to. 

Bequeathed by Mr. Charles H. Bellenden Ker in 1893. 

No. 1398> Ippolita Torellu 

A life-size figure seated, dressed in a plum-coloured velTet 
gown, with a low-cut bodice, and large sleeves lined with pale rose- 
coloured silk. A thin white kerchief, folded like a turban, sur- 
rounds her head. Background of green drapery. 

Ippolita Torelli was the wife of Baldassare Oastiglione, an Italian 
solcQer, statesman, and poet (1478-1529). 

On canvas, 2 ft. 11^ in. ^. by 2 ft. 4| in. w. 

Exhibited at the Boyal Academy in 1851. 

Bequeathed by Lady Eastlake in 189S. 



CEdwin). 

B. 1823. D. 1879. 

Edwin Edwards was born at Framlingham in Suffolk on the 
6th of January, 1823 ; he was educated at Dedham School in 
Essex, and studied for the law ; he was a Proctor and Examiner 
of the Courts of Oivil Law and the High Court of Admiralty. In 
1861 he retired from this profession and studied art in England 
and on the Continent, making a close study of nature. He 
exhibited fifty-four works at the Royal Academy, and etched 
many plates, amongst others a series representing '* The Old 
Inns of England." He died on the 16th of September, 1879.^ 

No. 1690. T?ie Thames^ from a Wharf near Waterloo 
Bridge, 

Hay barges, warehouses, and a crane fill the foreground and 
right of the picture ; on the river are miscellaneous craft ; on the 

* From information kindly supplied by Mrs. Edwards. 



EDWARDS— EGG. 81 

opposite side is the river bank from Somerset House to the Temple, 
as seen daring; the building of the Embankment ; the sky is grey 
and threatening. 

On canvas, 2 ft. 1 in. h. by 4 ft. 9 in. to* 
Presented by Mrs. E. Edwards in 1900. 



(AuaUSTUB L.), &.A. 

B. 1816. D. 1863. 

AagustuB L. Egg was the son of Egg the gnnmaker in 
Piccadilly, and was bom in London in 1816. Havmg mastered the 
first elements in drawing under Henry Sass, in Charlotte Street, 
Bloomsbnry, he obtained admission as a student into the Boyal 
Academy in 1836, and exhibited there as early as 1838. His first 
picture, " a Spanish Girl,** was followed by " Ijaugh when you can " 
in 1839 ; and a scene from " Henry lY.'' in 1840. Egg seems to have^ 
entered at once upon that line of art by which he ultimately gained 
his reputation — ^the higher genre or social history. He exhibited! 
idtogether twenty-seven works at the Academy, beside othon^ 
elsewhere. The following are the most important : — ** Peter the 
Great sees Catherine his future Empress for the first time," 1850 ; 
*< The Life and Death of Buckingham," 1855 ; " Past and Present," 
a social tragedy, in three groups, 1858 ; " The Night before Naseby," 
1859 ; and *' Catherine and Petruchio," 1860, his last picture. He 
had the misfortune to suffer from a weak constitution, and it was 
during a journey in Africa, undertaken for the benefit of his heaHh, 
that he died at Algiers, on the 26th of March 1863. Egg was 
elected an Associate of the Boyal Academy in 1848, and an Acade- 
mician in 1860. 

No. 444. Scene from " Le Diahle Boitetix.^^ 

Patricio and his two friends having breakfasted at a tavern on 
*' larded fowls, partridges of Leon, pigeons from old Castile, 
Estremadura ham, and all the fruits of the season," he had called 
for the reckoning, which amounted to fifty reals. As Patricio had 
but thirty in his purse, he was forced to leave in pawn his rosary, 

adorned with silver medals. 

Le Sagcy "" Devil on Two Stiek»;* ch. vii 

(B.A.) F 



82 EGG— ETTY. 

On oanvas, 2 ft. 10 in. h, bj S ft. 8 in. w, 
Bnfi^ved by S. Sangster. 
Exhibited at the Royal Aoademy in 1844. 
Vernon OoUeotion, 1847. 

No. 13SS> ^' Beatrix Knighting Esmond.'^ 

A scene from Tbaokeray*8 well-known historical novel, Esmond 
{Booh IL^ chap. 15.) 

In an apartment panelled with oak, filled with Jacobean fnr- 
niture, and having a rich Turkey carpet spread on the floor, 
Beatrix, standing on the right of the picture, clad in a white silk 
gown with a front of amber-coloured brocade, extends her right 
arm holding a sword towards Esmond, who kneels before her in 
a military uniform of Queen Anne's reign, viz., a scarlet coat 
trimmed with silver lace, steel cuirass, boots, and spurs. 

Through an open door on the left, Rachel Lady Oastlewood, 
wearing a blue silk dress with white muslin sleeves and bkek 
head veil, has just entered, with the Dowager Yisoountess leaning 
on her arm. 

On canvas, 2 ft. 9| in. h. by 3 ft. 9| in. to. 

Painted in 1867 ; exhibited at the Royal Aoademy in 1858 ; at the 
International Exhibition in 1862 ; at the International Exhifcdtion at 
Paris in 1867 ; at the Leeds Exhibition in 1868 ; and at the Royal 
Aoademy Winter Exhibition in 1873. 

Formerly in the collection of Mr. (afterwards the late Sir) Thomas 
Fairbaim. 

Pnrohased in 1893 (ont of the Clarke Bequest) from Mr. A. D. 
Hogarth, of Brompton. 



(William), R.A. 

B. 1787. D. 1849. 

William Etty was born at York, March the 10th, 1787 ; his 
father was a miller. In 1798 he was apprenticed to Robert Peck, 
a letterpress printer at Hull, with whom he served seven years* 
but, says Etty, in his autobiography, ** I had such a busy desire to 
be a painter, that the last years of my servitude dragged on 
most heavily." In 1806 he removed to London, to his uncle, 



ETTY. 83 

Mr. William BUy, of Lombard Street, and at oaoe earnestly pre- 
pared himself to enter as a student at Somerset House. His first 
academy, however, was the plaster-cast shop kept by Gianelli, in 
Oock Lane, Smithfield, where Etty made a drawing of the ancient 
group of Cupid and Psyche, which procured him admission into 
the Royal Academy ; he and Collins entered it the same week in 
1807. By his uncle's generosity, who paid one hundred guineas 
for him, Etty became the pupil for one year of Sir Thomas (then 
Mr.) lAwrence, residing at that time in Greek Street, Soho 
Square, but the incessant occupation of Lawrence left him little 
leisure to assist his pupil, and Etty*s difficulties were so great, 
that he writes — '* Despair almost overwhelmed me, I was ready to 
run away, I felt that I could not get on, but a voice within said 
persevere! I did so, and at last triumphed, but I was nearly 
beaten." 

When his year was expired, Etty painted from nature, and 
copied the '* old masters " in the British Gidlery : this, he says, 
he found easy, after copying Lawrence. He was also a constant 
student in the ''Life School" of the Royal Academy. His 
industry was indefatigable, yet he tells us he tried for all medals, 
gold and silver, and never got any of either. He ventured at one 
time to send six pictures to the Academy exhibition, all were 
rejected ; this happened year after year at the Academy, and at 
the British Gallery, but by discovering his defects, and by great 
industry in endeavouring to correct them, he at last conquered 
his evil fortune, and by such works as "The Coral Finders," 
exhibited in 1820 ; *^ Cleopatra," exhibited in the following year, 
and some others, he established a reputation, and at length entered 
upon his great career. 

In 1822 Etty went to Italy, visiting Venice, Florence, Rome, 
and Naples, but it was in Venice that he found the greatest 
attractions ; — " Venice, the birth-place and cradle of colour, the 
hope and idol of my professional life !" He studied in the Academy 
there, and was elected an honorary member of it. 

He returned to London early in 1824. The first picture he ex- 
hibited after his return, was " Pandora crowned by the Seasons," 
in the Exhibition of 1824, for which he was chosen an associate of 
the Royal Academy ; and in 1828 he became a member. 

In the autobiography mentioned in this notice, Etty has himself 
pointed out what he considered his greatest works. *'^To the 

(BA.) F 2 



84 ETTY. 

pure in heart, all things are pare/ my aim in aU my great 
pictures has been to paint some great moral on the heart "«- 
" The Combat," the beauty of mercy ; the three " Judith " pic- 
tares, patriotism, and self-devotion to country, people, and 
God ; ^* Benaiah, David's chief captain," valour ; " Ulysses and 
the Syrens," the importance of resisting aemtud delights, or an 
Homeric paraphrase on " The Wages of Sin is Death " ; three 
pictures of '^Joan of Arc," Religiony Loyalty, and Patriotism, 
like the modern Judith. In all, nine great pictures, ^'as it was 
my desire to paint three times three." 

In the summer of 1849 an exhibition of Etty's works, to the 
number of 130 pictures, took place in the great room of the 
Society of Arts, at the Adelphi, in a surprising manner display- 
ing the great powers of this distinguished English painter, 
especially as a colourist. Etty died in the same year, 1849, in 
his native place, York, on the 13th of November ; he was never 
married, and having lived a very retired life, he accumulated a 
considerable fortune.* He contributed one hundred and thirty- 
six pictures to the Boyal Academy exhibitions. 

No. 3S6a Youth on the Prow and Pleasure at the 
Helm. 

** Fair laughs the mom, and soft the Zephyr blows. 
While proudly riding o'er the aznre reako; 
In gallant trim, the gilded vessel goes. 
Youth on the prow, and Pleasure at tne helm, 
Unmindful of the sweeping whirlwind's sway, 
That, hushed in grim repose, expects his evening prey."— 6^ay. 

On canvas, 6 ft. 2 in. h, by 3 ft. 10 in. w. 
Engraved by 0. W. Sharpe, 
Exhibited at the Boyal Academy in 1882. 
Yernon Collection, 1847. 

No. 359- The Lute Player. 

A gentleman and two ladies, a black page bearing refresh- 
ments. 

'* When with sweet notes I the sweet lute inspired, 
Fond fair ones listen'd, andimy skill admired ." 



* See his Autobiography in the Art Journal for 1849 and the '* Life of William 
Ettyr by A. Gilchrist. 2 vols. 8vo. London, 1856. There is a fine engraving of 
the *'Oombat " by G. T. Doo, R.A. 



BTTY— FAED. 85 

On wood, 2 ft. A. by 1 ft. 8^ in. to. 
ESngzayed by J. G. Armytagre. 
Exhibited at the Boyal Aoademj in 1833. 
Yemon Collection, 1847. 

No. 614s. The Bather^ ^'at the doubtful breeze 
alarmedJ*^ 

A. woman standing in a shaded pool, in the attitude of 
listening. 

On oanyas, 2 ft. 1} in. A. by 1 ft. 7^ in. to. 
Exhibited at the Royal Academy in 1844. 
Bequeathed by Mr. Jacob Bell in 1859. 

No. 1795- Pandora Oroumed by the Seasons: 

Pandora, the heathen Eve, having been formed by Vulcan as a 
statue and animated by the gods, is crowned by the Seasons. 

- ** To deck her brows the fair-tressed Seasons bring 
A garland, breathing all the sweets of Spring.** 

—Elton's HetUkU 

Pandora stands in the centre, Yulcan who fashioned her sits at 
her feet to the right ; Yenus recUnes on a vermilion couch with 
cupid beside her to the left. The four seasons float through the 
air crowning the new formed woman. Study for the picture of 
1824. This study belonged to James Holland, and was bought at 
the sale of his coUection. 

Oil on paper, 6 in. A. by 7 in. to. 
Bequeathed by Mr. Henry Vaughan in 1900. 



(Thomas), Jt.A. 

B. 1826. D. 1900. 

Thomas Faed was bom at Hurley Mill, in the Stewartry of 
Kirkcudbright, in 1826. He lost his father in early boyhood, but 
aided by his elder brother, John Faed, B.S.A., who was working 



86 PAED. 

his way to reputation as an artist in Edinburgh, he followed his 
bent, and became a student of the School of Design in that city, 
where, for a short time, he was under Sir W. Allan. The first 
work he exhibited was a water colour, the subject of which was 
taken from "The Old English Baron." He was elected an 
Associate of the Royal Scottish Academy in 1849. He exhibited 
at the Royal Academy for the first time in 1851, and settled 
permanently in London during the following year. His pictures 
are generally of domestic subjects, appealing especially to 
Scottish sentiment. The painting called " A Mitherless Bairn," 
exhibited in 1855, elicited very high praise. Faed was elected 
an Associate of the Royal Academy in 1859, and a full member 
in 1864. He was an honorary member of the Yienna Royal 
Academy. His industrious career was brought to a conclusion 
by the partial failure of his eyesight, and to his great regret he 
had to lay aside his brushes, and he exhibited for the last time 
in 1894. He died in August, 1900, at the age of seventy-four 
years. 

No. 1525. The Silken Goum. 

** And ye shall walk in silk attire, 

And siller ha'e to spare, 
Gin ye'U consent to be his bride, 

Nor think of Donald mair." 

* OC I wha wad buy a silken gown, 

Wr a poor broken heart f 
Or what's to me a siller crown, 

Qin frae my love I part f " 

A countrywoman in a green dress, a red and black striped petti- 
coat, and an Indian red handkerchief, is seated before her 
spinning-wheel beside a table where her mother has spread a 
fiowered silk, the offering of her wooer, who is seen conversing 
with the good man of the house in the parlour behind. On the 
left a little sister sits playing with a red cloaked doll and a cradle, 
while a terrier looks on with a puzzled expression. Signed, 
T. Faed, 1863. 

On oanyas, 3 ft. 1 in. h, by 2 ft. 54 in. to. 

Exhibited at the Boyal Academy in 1863 ; lent by its former owner, 
H. W. F. Bolckow, Esq., M.P., to the Royal Jubilee Exhibition held at 
Manchester in 1887. 

Tate eift, 1894. 



FABD— FANTIN-LATOUR. 87 

No. 1526. Faults on Both Sides. 

A yonng husband and wife, who have evidently quarrelled, are 
seated close together looking opposite ways, while the collie dog 
sits looking bewildered over its master's knees. In the background 
are the striped curtains of a bed and other furniture of a 
cottage. Signed, T. Faed, 1861. 

On canvas, 2 ft 2^ in. ^. by 1 ft. 9 i in. w. 

Engraved by Charles TomkinB. 
Tate Gift, 1894. 

No. 1527. The Highland Mother. 

A young mother is seated in the heather in an open moun- 
tainous liuidscape nursing her baby, who is wrapped in a red 
handkerchief. Signed T. Faed. 

On canvas, 10} in. A. by 8 in. to. 
Tate Gift, 1894. 



FANTXN-&ATOVR (Henri). , 

B. 1836. D. 1904. 

Ignace Henri Jean Theodore Fantin-Latoar was bom at 
Grenoble, on January 14th, 1836. He was partly trained under his 
father, who was also an artist, and afterwards under Lecoq de 
Boisbaudran at the same time as Bonvin and Legros. For a short 
period he attended the l^ksole des Beaux- Aits and the ateliers of 
Couture and Oourbet. The great artists of the Benaisance left a 
lasting impression upon his art and some of the admirable copies 
he made in the Louvre are now in the possession of Sir Seymour 
Haden. Fantin first sent to the Salon in 1859, but he was seen at 
the Salon des Refuses organised by Bonvin, where the works of so 
many artists afterwards to be distinguished were exhibited. In 
1861, he exhibited at the Salon '^ Etude d'apr^s Nature," a picture 
noticed by the best judges, but his first great success was with his 
large portrait group " Hommage h Delacroix," exhibited in 1864 
containing the portraits of several artists of the realistic school 
grouped around a portrait of Delacroix, including Fantin himself, 
Baudelaire, Ohampfleury, Legros, and M. de Basleroy. Fantin- 
Latour painted several other important portrait groups, including 



88 FANTIN-LATOHR. 

" L' Atelier de Manet, aux BatignoUes/' painted in 1870, with 
portraits of Manet, Astrao, Scbolderer, Edmund Maftre, Zola, 
Monet, and Bazile. This picture of masters of the Impressionist 
School is now in the Lazembourg. " Coin de Table," exhibited in 
1872, contains portraits of Yerlaine, Baimband, and other poets ; 
and '^Autoor da Piano," painted in 1885, those of Bmmanael 
Ohabrier, Vincent d'Indy and other musicians. 

In 1864, Fantin-Latour exhibited the " Scene du Tannhauser," the 
first of his long series of works inspired by the music of Wagner, 
Berlioz, and Brahms, carried out sometimes in pastel and litho- 
graphy, as well as in painting. Two years later appeared the first 
of his well known still-life paintings of flowers and fruit by which 
perhaps he is best remembered in this country. 

During the earlier part of his career, Fantin-Latour spent much 
of his. time in this country where his art has always been 
appreciated, and where he is so well represented by the portrait 
group of Mr. and Mrs. Edwards, now in the National Gallery, and 
" Study of Flowers " in this Gallery, both presented by the same 
generous donor. 

In 1876, Fantin-Latour visited Bayreuth and in the same year he 
painted " Das Beingold," now in the Luxembourg ; his work 
" L'Anniversaire de Berlios," now at the Grenoble Museum, 
followed it in 1877. The lithographs of Fantin-Latoar, mostly 
inspired by music, number some 170 works. In 1862, Fantin- 
Latour first began to draw on the stone and he made further 
experiments in 1873, but not till 1876 did he really enter 
upon his career as a lithographer. In 1881, and again in 1885, he 
issued selections of lithographs in portfolios. He illustrated, with 
a set of fourteen designs apiece, M. Adolphe Jullien's books on 
Wagner and Berlioz in 1886 and 1888. Fantin-Latour was an 
ofi&cer of the Legion of Honour, and died in 1904. 

No.. 1686> A Study of Flowers, 

A bunch of roses, lupins, and other flowers, placed in a round 
glass vase, stand on a brown table against a cool ^rey background, 
one saffron coloured rose lies upon the table oeside the vase. 
Signed, Fantin. 

On canvas, 2 ft. 3 in. h, by 2 ft. w. 
Presented by Mrs. E. Edwards, 1899. 



FARQUHARSON. 69 

r ASQVSA&SOir (David), A.a.A. 

B. 1839. D. 1907. 

A Scottish landscape painter, born in Perthshire. He waa 
edacated as an artist in Edinburgh, and worked there in his early 
years, sending to Academy exhibitions in London from 1877 
onwards. From 1886 to 1894 he lived in London, and from 1895 
at Sennen Cove, Penzance. He was elected an Associate of the 
Boyal Scottish Academy in 1882 and of the Royal Academy in 
1906. He died in July, 1907. 

No. 1048. In a Fog. 

The sun, not long risen, is driving away the fog from a park-like 
landscape. The partially-cleared mist shows some horses and a 
donkey standing in the bracken, towards whom a man is coming 
np with a halter. Painted on Beer Common, South Devon. 
Signed, David Farquharson, 1897. 

On canvas, 3 ft. 11^ in. ^. by 6 ft. 11 1 in. io. 

Efachibited at the Royal Academy in 1897. 

Ohantrey Purchase, 1897. 

No. 2072. Bi7'nam Wood, 

** Macbeth shall naver vaaqaiahed be, nntU 
Great Birnam Wood to highDansinane Hill 
Shall come against him." 

—IlacbetK 

A glade and pool with deer in a wood of Scotch fir and larch. 
Misty evening, with after-glow shining through the trees. 

Canvas, 5 ft. 6 in. A. by 8 ft. to. 
Exhibited at the Boyal Academy, 1906. 
Ghaktsst Pubchase, 1906. 



FAaQVBAasON (Joseph), A.a.A. 

No. 1026* T?ie Joyless Winter Day. 

On a desolate moor, in a terrible snowstorm, a shepherd with 
his two dogs is guarding a flock of sheep, which search for 
pasture under the snow. Signed, J. Farquharson. 

On canvas, 8 ft. 6 in. A. by 6 ft. 11^ in. to. 

Exhibited at the Boyal Academy in 1883. 

Chantrey Purchase, 1883. 



90 FEHR— FIELDING. 



la (Henry Ohablbs). 
No. 174k9> The Rescue of Andromeda. 

Perseas, with his sword and Medusa's head, has just alighted 
upon the scaly back of the hook-wine^ed monster, at the Tory 
moment the great beast is about to dutch the body of the 
terrified Andromeda. Inscribed, H. 0. Fehr, S^, 1893. 

Bronze, 10 ft. 6 in. A. by 8 ft. across the wings of the monster, on a 
oiroular bronze base, 3 ft. 10 in. in diameter. 

Bzhibited at the Royal Academy in 1894. 

Ohantrey Purchase, 1894. 



(Anthony Vandyke Copley). 
B. 1787. D. 1855. 

Anthony Vandyke Copley Fielding was the second son of 
Nathan Theodore Fielding, a portrait painter, who lived near 
Halifax, in Yorkshire ; he probably received his first instruction 
from his father, but he studied under John Varley. He was one of 
the young artists who used to meet and work together at Dr. 
Munro's, in the Adelphi. In 1810 he began to exhibit at the 
Society of Painters in Water Colours, now the Royal Society of 
Painters in Water Colours, and in 1811 to the Royal Academy, 
where he exhibited some 17 pictures in all ; he worked principally 
for the Water Colour Society, and became a full member in 1813, 
Treasurer in 1817, Secretary in 1818, and President from 1831 until 
his death. For many years his contributions to the exhibition 
averaged between 40 and 50 works. In 1819, he sent no less than 
46 frames containing 71 drawings ; and in 1820, 43 frames con- 
taining 53 drawings. 

He was awarded a gold medal at the Paris Salon in 1824, the 
same year that Bonington and Constable had a similar success. 

Copley Fielding married Miss Gisbome, daughter of Zachanah 
Gisbome, and sister-in-law of his old master John Varley. The 
public appreciation of his art, and a large and fashionable teaching 
connection, enabled him to make a considerable fortune, and in his 
later years to retire to Brighton. He died at Worthing, on the 
3rd of Match, 1855. 



FIELDING— FILDES. 91 

His best works are snbjects from the Bnssex Downs, sea pieces, 
and aerial effeottt ; he painted some pictures of the lakes and 
mountains of Scotland, Wales, and the North of England, and some 
few Italian scenes, but these last were from the sketches of others, 
as he never went abroad. He occasionally painted in oil colours ; 
there is an example at the South Kensington Museum, together 
with IS of his water colour drawings.* 

No. 1720> A View in Sussex. 

A wide prospect of the Sussex Downs is lit up by rays of 
sunshine passing over the landscape from a cloudy sky. On the 
left is a cottage with a pathway on which a boy and girl are 
walking hand in hand. In the foreground is a road along which 
a rustic is driving cows. A group of trees in shadow occupies 
the right of the picture, and on a hill in the distance is a 
castle. Signed, Copley Fielding, 1834. 

Water colour, 9 in. A. by 1 ft. 1^ in. to. 
Presented by Mr. E. Homan, in 1899. 



(Sir Luke), R.A. 
No. 152Z.* The Doctor. 

In a fisherman's cottage at dawn the doctor sits intently 
watching a sick child, wrapped in blankets and placed on pillows 
support^ by two chairs, under the light of a lamp; behind, near 
the curtained window, sits the mother, her head buried in her 
arms ; the father stands by his wife and turns his gaze to the 
doctor's face. 

On oanyas, 6 f t. 4| in. h, by 8 ft. io. 

Exhibited at the Boyal Academy in 1891, exhibited also at the Liver- 
pool Autumn Exhibition of 1891, and at Manchester in 1892, Bradford, 
1892, Glasgow, 1892, and Newoastle-on-Tyne, 1892. 

Tate Gift, 1894. 



* Dictionary of National Biography, Bryan's Dictionary of Painters and 
Engravers, and Graves' Catalogne of Exhibitors. 



92 FISHER— FOLEY. 



(S. Mxltom). 

No. 1678a* In Realms of Fancy. 

Two girls reclining apon a couch, are absorbed in a book whioli 
the elder is reading aloud. She wears a rose-coloured dress and 
the younger is in a spotted white muslin, and leans her head upon 
the left shoulder of her companion. On the sofa is a black cushion 
with a crane of Japanese design worked upon it ; behind, in the 
background, are palms, azalias, and other plants. 

On canvas, circular, 4 ft. in diameter. 

Exhibited at the Royal Academy, and at Oldham, in 1898. 

Ghantrey Purchase, 1898. 

FOXiBT (John Henry), &.A. 
B. 1818. D. 1874. 

John Henry Foley was born in Dublin on May the 24th, 1818 ; 
a relative in that city turned his attention to sculpture, and he 
began to study drawing and modelling in the Schools of the 
Boyal Dublin Society at the early age of thirteen. In 1834 he 
came to London, and joined the Academy Schools the following 
year. He exhibited for the first time, in 1839, the *' Death of 
Abel,*' and " Innocence." ** Ino and Bacchus," exhibited in 1840, 
was carried out in marble for the Earl of EUesmere. Statues of 
'* Hampden " and " Selden " were executed by him for the decora- 
tion of the Houses of Parliament ; ^^Egeria" and "Garactacus" 
for the Mansion House ; " Goldsmith " and ** Burke " for Trinity 
College, Dublin; "Faraday," "Reynolds," and "Barry" for 
Westminster Palace Yard ; " John Stewart Mill " for the Thames 
Embankment ; " Outram " for Calcutta, and " Stonewall Jackson " 
for South Carolina. The symbolical group of "Asia," for the 
Albert Memorial in Hyde Park, was his work, but he died on the 
27th August, 1874, before the statue of the Prince, which was 
designed by him, was completed. He left his models to the Boyal 
Dublin Society, his early school, and a great part of his property 
goes eventually to the Artists' Benevolent Fund. 

No. 1770. Sir Joshita Reynolds^ PMji, 

The first President of the Boyal Academy, palette and brush in 
hand, stands looking out before him as though examining the face 
of a sitter; he wears his Doctor's Robe. Reynolds was born 
at Plympton, in Devonshire, July 16, 1723 ; his father, the Bev. 



FOLEY— FORD. 93 

Samuel Reynolds, was master of the grammar Rchool of Plympton. 
Sir Joshua was inteuded origiually for the medical profession, but 
he eyinoed very early a taste for art ; and the perusal of Richard- 
son's treatise on painting decided him to become a painter. He 
was accordingly, in 1741, placed with Hudson, an eminent portrait 
painter in London ; he remained, however, with Hudson only two 
years, and then set up as a portrait painter at Plymouth Dock, now 
Devonport. . In 1746 he took apartments in St. Martin's Lane, and 
commenced practice in London. In 1749 he accompanied Commo- 
dore (afterwards Lord) Keppel, in the " Centurion," to the 
Mediterranean. After spending about three years in Italy, he 
returned at the end of the year 1752, by way of Paris, to England. 
He settled in London, and soon became the most distinguished 
portrait painter in the capital. In 1768 he was unanimously 
elected president of the then newly-established Royal Academy of 
Arts in London, and was knighted by George III. on the occasion. 
He succeeded Allan Ramsay as principal painter in ordinary to 
the king in 1784. He died at his house in Leicester Square, 
February 23, 1792, and was buried with great pomp in St. Paul's 
Cathedral. He exhibited altogether 245 works at the Royal 
Academy, sending in 1788 eighteen pictures ; his contributions 
amounted on an average to eleven annually. 

Marble, 7 ft. A. 

Bequeathed by Mr. Henry Yaoghan. 



(Stanhope Alexander), A.A.A. 

No. 1544.* TJie Health of the Bride. 

The picture represents a wedding breakfast in Cornwall. At 
the head of a table in the centre of a low room stands the proposer 
of the bride's health, his figure relieved in dark against a window 
through which are seen a glimpse of sea and coast, and the mast 
and yard of a ship. At the table on the right are seated the bride 
and bridegroom. Signed, Stanhope A. Forbes, 1889. 

On canvas, 4 ft. 11^ in. A. by 6 ft. 6^ in. w. 

Exhibited at the Royal Academy in the same year, and at Liverpool 
1891. 

Tate Gift, 1894. 

FO&D (Edward Onslow), &.A. 
B. 1852. D. 1901. 
Edward Onslow Ford was born in London on the 27th of 
July, 1852. He was educated at the Blackheath Proprietary 



^ I 



94 FORD. 

School. When eighteen years of age he w^nt to Antwerp, and 
joined the Royal Academy Schools of that city to stady painting, 
working his way up to the Antique School under M. Buffean. 
In 1871, the following year, he passed on to Munich, and 
entered the studio of Prof. WagmuUer, who advised him to take 
up sculpture and abandon painting. Before returning to England, 
being then barely twenty-one, he married the youngest daughter of 
Baron Franz von Kreusser. One of the first works he exhibited at 
the Royal Academy was a portrait bust of his wife. In his twenty- 
ninth year he won, in open competition, the commission f or thesbatue 
of Sir Rowland Hill, for the Royal Exchange. In 1883 he made 
the statue of Mr. Gladstone for the City Liberal Club, and the 
marble statue of Sir Henry Irving, presented by the tragedian to 
the Guildhall. His bronze statue " Folly," now in this Gallery, 
was the first work cast by the '* cire perdue '' process in this country 
during recent times. Other statuettes of a somewhat similar 
character are " Echo," " Applause," " Peace," " Music," and the 
*' Singer," a work in which enamels of divers colours, gems, and 
gold were used, and which was presented by Sir Henry Tate to 
this GkiUery with his collection of pictures. Ford modelled the 
bust of General Gordon for the mess-room of the Royal Engineers, 
at Chatham, and the large memorial statue on the esplanade, in 
which the hero, in an oriental dress, is represented mounted upon 
a fnlly-caparisoned camel. Ford also made the Gordon Memorial 
Shield, presented by the Engineers to the General's sister, and the 
Gordon Cenotaph, in Westminster Abbey. In 1892 he exhibited 
the recumbent nude figure known as the Shelley Memorial, pre- 
sented by Lady Shelley to Universify College, Oxford, and in 1897, 
the Jowett Memorial, for Balliol. His equestrian statue of Lord 
Strathnairn is at Knightsbridge. The bust portrait of Queen 
Victoria, in marble, is nove at Windsor. The last important 
work he exhibited was a colossal statue of Queen Victoria for 
Manchester. Ford was elected an Associate of the Royal Academy 
in 1888 and a full member in 1895. He died on the 23rd of 
December, 1901. His last works were a statue entitled '^ Snow- 
drift," and a small figure of ** St. George." 

No. 1753. The Singer. 

A girl with an Egyptian head-dress stands on a small bronze 
base with Egyptian figures at the corners ; with her right hand she 






FORD— FOSTER. 95 

strikes a chord on a tall enamelled Egyptian harp that stands at 
her right side. The brass base is decorated with Egyptian symbols 
in coloured enamels. The whole is supported on a bronse lotns- 
shaped pedestid inserted in a black Irish marble base, 1 ft. 8 in. 
square ; altogether 6 ft. 6 in. k. 

Exhibited at the Royal Academy in 1889. 
Tate Gift, 1894. 

No. 1758. Folly. 

A young girl laughingly balancing herself on the brink of a 
precipice. 

Bronze, 3 ft. A., on a droular English serpentine base of 9 in. 
diameter. 

Exhibited at the Royal Academy in 1886. 

Ohantrey Purchase, 1886. 



(Miles Bibkbt). 

B. 1825. D. 1899. 

Miles Birket Foster was bom at North Shields, Northumberland, 
of Quaker descent, he was educated at Hitchin, Hertfordshire : at 
the age of sixteen he was placed with Landells, the wood engrayer, 
by whose advice, after he had practised engraving for a short time, 
he became a draughtsman. At the age of twenty-one he started 
on his own account and illustrated several children's books, and 
made drawings for the IllustrcUed London News. • His well-known 
illustrations for Longfellow's poem, " Evangeline," were published 
in 1850, and for other works by the same poet in 1852. Foster 
also illustrated Beattie*s " Minstrel," and Goldsmith's Poems. He 
carried out some etchings on steel from his own designs for 
Milton's "L' Allegro" and ''UPenseroso," 1855 ; andfor Goldsmith's 
" Traveller," 1856. He designed illustrations for a large number 
of other publications. After the year 1858 Foster devoted himself 
chiefly to water-colour painting ; as a landscape painter his work 
bore traces in its elaborate finish of his training as an engraver. He 
was elected a member of the Royal Society of Painters in Water- 
Oolours in 1860 and exhibited more than three hundred works, 
principally Surrey cottages and rustic scenes, at the society's 



96 FRAMPTON— FRASER. 

exhibitions, as well as sending important oontributions to the 
Royal Academy and other galleries. He published a volame 
devoted to English Landscape, with descriptions from the pen of 
Tom Taylor in 1863 ; a collection of Sammer Scenes, photographs 
of some of his best water-colour drawings in 1868 ; a number of 
Breton Yiews in 1878 ; and reproductions of drawings of " Some 
Places of Note in England," in 1888. There are nine drawings by 
Foster belonging to the Victoria and Albert Museum, South 
Kensington. He died in 1899. 

No. 1977. Cottage at Hambledon. 

At the foot of some stone steps leading out of a shady lane to a 
group of thatched and white-washed cottages are seated a young 
woman with a baby on her lap, and a little girl and a boy who are 
tying up their gleanings from the cornfields. A hedgerow elm ivy- 
clad overhangs the hollow road and the sandy banks are full of 
brambles and wild flowers, in the foreground there are some fowls 
and a bundle of sticks. Signed with the monogram of the painter. 

Water-colour, 1 ft. 4 1 in. A. by 2 ft. 1 in. w. 

Bequeathed by Mr. Charles Fraser in 1906. 



r&AKPTON (Geoboe James), ft.A. 
No. 1954. Charles S. Keens. 

A posthumous bas-relief portrait of Charles Keene, the draughts- 
man ; inscribed: Charles S. Keene. Bom Aug. 10, 1823. Died 
Jan. 4, 1891. On the top of the side columns are two small figures^ 
one turning over the pages of a book and the other with bowed 
head lowering the bauble of Punch. 

Bronze, 3 ft. h. by 2 ft. to. 

Presented by Mrs. Edwards in 1905. 



(Alexander). 

B. 1786. D. 1866. 

Alexander Fraser the elder was bom at Edinburgh in 1786. 
Qe studied at the Trustees' Academy in that city, where he had 
David Wilkie and Watson Gordon for fellow-students. He first 
exhibited at the Royal Academy in 1810, settling in London there 



FRIEDENSON— FRITH. 97 

yean later, and became Wilkie's assistant for a time. He painted 
a series of illustrations of the '* Waverley Novels," some of which 
have been engraved. There is a picture by him in the National 
GUllery of Scotland, a view " At Bamdeath." He does not appear 
to have exhibited after 1859. Daring the latter years of his life 
he was an invalid. He died at Wood Green in 1865. 

No. 1789a Figures outside an Inn. 

A scene from Peveril of the Peak. Julian mounted on a grey 
horse mlutes the hostess who stands on the horse-block as she 
offers him a parting glass from her own peculiar bottle and 
whispers in his ear " Beware of Trepans." The stranger in black 
on the bay is Richard Ganlasse, alias Edward Ohristian, he drinks 
the stirrup-cup proffered by the landlord, Gaffer Whitecraf t, who 
stands in the doorway. The signboard by the pump to the left 
represents the " Oat and Fiddle." 

On canvas, 1 ft. 5 in. h, by 1 ft. 1^ in. w. 

Bequeathed by Mr. Henry Yaujirhan in 1900. 



mXSDXSNSON (Arthuk). 

No. 2138. Eunswick Bay. 

A view on a sunny day in winter, through morning; haze, of the 
little Torkshire fishing village and line of coast looking north- 
ward. In the foreground are a woman and child feeding hens. 

Canvas, 3 ft. 4 in. h. by 5 ft. w. 
Exhibited at the Royal Academy, 1907. 
Chantrey Pueohasb, 1907. 



(William Powell), C.V.O., &.A. 
No. 618. The Derby Day. 

This celebrated picture is an epitome of the scene on the race- 
course at Epsom on a Derby Day. In the centre on the further 
side of the course is the Grand Stand crowded with a mass of 
spectators. Through a gap in the crowd in the foreground are 
seen the horses being walked down the course previously to the 
race being run. To the left of the picture are rows of booths, 
and the foreground is occupied by characteristio gi^tips difa- 
matically 8ettin|; forth the usual incidents of the race d^y— -on the 

CBA.) 



98 FRITH— PURSE. 

left the thimble-rigger with his viotims ; in the centre a group of 
acrobats, behind wSom is» eoaeh-iB^'with a large ^rtj of 
dissipated looking 'people aii jundieon i < mere* te^ the fi|^t are open 
carriageii in whic^ are gaily-attire^ People ain-anging ))et8 ; anotner 
more to the left is 6'ccdpie^ by a lady alone, to wliQm' an old gipsy 
im offiBtih^ tb' tell her fbntifLd. TVirther in^tb^ dfst'ance are groups 
of fomr-m-habds 'crowded WitU 'figares, add* <!otis]^6hcmb m the 
midst of them is an acFoAntfk p^orforhSng on tlte tdp-^ a pole. In 
the immediate foreground a footman is spreading out luncheon on 
a cloth on the ground lor • the patty* iiir^ 'thi x»rz|i||ftf* behind. 
Numerous other incidents give interest and vivacitY to the crowded 
panorama. 

On canvas, 3 ft. Si in. A. by 7 |t. ^ in. w, 

inhibited at the i^yal Academy in 1868. 

Bntrn^Ted on half toate^b^'lugnit Blsattiard. 

A replica of' {his ]^6ttLr^ Ui 'in. "th^^PetAiaiient Art OaUery at Man- 
chester. ' ....;.. r^/' >.( -a' r .: -t « * ' 

Bequeathed by Mr. Jacob Bell in 1859. 

No. 1781. Uncle Toby and the Widow Wadmcm. 

Uncle Tob^ and the widow Wadman are examining the plan of 
the fortifications hung in the sentry box. Mrs. Wadman s next 
stroke of generalship was ** to take my Uncle Toby's tobacco pipe 
out of his hand as soon as she possibly could ; which, under one 
pretence or other, but generally that of pointing more distinctly 
at some redoubt or breastwork in ihe map, she would effect before 
my Undo Toby (poor soul) bad well mardied half 'ailossen toisee 
with it." The widow wears a black liood and Uncle Toby stands 
with his back to the spectator and staring hard at '1;he' mapf ; he 
is dressed in a scarlet and gold4aoed uniloEm coat and full 
brown wig. Signed, W. P. Erkh, 1865. ' ' . 

On canvas, 2 ft. 5f in. A. by 1 ft. 8^ in. to. 
Bequeathed by Mr. Henry S. Ashbee in 1900. 



(Charles Wellington), ^.^.^. 

Charles Wellington Furse was born at Staines on the 13th 
Jaii«ltfy;^ l^ft 'ITe was tfee son bf the ReV. O.'WyjJum, ^^A! 
^feiries,' af terwaras Canon' and i.rchdeao'<5h or Westminsfer, and cit 
|)iaDa ]&^onse]l, h& wii^e. Through bis father, Fufse was related 
to Sir Joshua Reynolds. He was educated at Haileybury, and at 



rURSE. 



^5 



the age of sixteen began to stndy art ander Profeasor Legrofl ^t 
the Blade School where he obtained a scholarship' the folldwfil^ |feaV. 
His stadentship was interrupted bj the seribdB illness t&ai he 
struggled with ^o valiantly all his short life and that fihietliy closed 
his promising career at the early age of tbirty-six. Purse's Qnt 
exhibited work, a life-sized picture of "Gain," was painted in 
1888 whilst he was still working with L^groa. He ^fterwfrds 
studied in Paris at Julian's atelier, and retaming to* Loifflon 
soon made a name for himself by the works hr sent td'^he 
Boyal Academy exhibitions and to the New English Art 
Club, of which he was a distinguished member. In 1900' IXe 
married Eathf&rine, daughter oft John Addington' Syttidbda. 
Amongst his more important works are : the pbrtraits of Cahdh 
Burrows, painted' in 1889 ; William Obry, 1891 ; Bishop Stubbs, 
1892; Sir Bichard Henn Collins, Master of the iLoIIs, then 1^. 
justice Henn. Collins, 1893 ; and the large canvas, " XKe Master of 
Hounds," exhibited the same year. Fnrse painted several impor- 
tant studies for two equestrian portraits of field Marsjial pari 
Boberts, one of which was exhibited in 1900. The large capjas, 
which remained unfinished, has been lent by his widow for 
exhibition in this Gallery. He devoted much time daring the 
years 1899-1902 to the decorative spandrels for Liver pcSbl 
Town Hall and designs for an unQnished picture of Orpheus, 
of which there is a first sketch dating from 1898. Be was 
well represented at the exhibitions in 1903 by the portndto 
of Admiral Lord Charles Beresford, standing bare-headed aff^in^t 
a background of rigging^ Mrs. Oliver and Children, *' The Song," 
portraits of Mr.' and Mrs. Walter Leaf, ** The Lilac Gown|" and 
*^ The Bet urn from the Bide," purchased under the terms of thiB 
Ohantrey bequest and now in this Gallery. In 1904 be 
exhibited a series of pictures that gave no indication that his 
brush was so soon to cease working : ^* Diana of the Uplaiids'" 
and *' The Lilac Gown " at the Boyal Academy, of which' insiStu- 
tion he was elected an associate, and ** Timber Hauiers " st the 
New English Art Club. He died on the 16th of October the same 
year. His large picture, ^* Cabbing with the York and Ainsty," 
was exhibited at the Boyal Academy in ihe year 1905. A repre- 
sentative collection of his pictures was held at the Burlington Fine 
Arts Club in the summer of 1906. The catalogue contains a full 
list of his works. - . ^ 

CB.A.) a 2 



^ I 



100 FURSE— GIBSON. 

No. 1963. 7%« Return from the Ride. 

A fair-haired horseinaii in a black jacket, white breeches and 
brown gaiters with a Panama hat in his hand looks down at a 
lady in a rose-coloured dress walkine beside his black horse. She 
wears a white lace fichu and a black hat and looks over her 
shoulder out of the picture. 

On canyas, 7 ft 1 in. A. by 9 ft. 1 in. to. 

Exhibited at the Royal Academy, 1903. 

Chantrey Purchase, 1906. 

No. 2059-* Diana of the Uplands. 

A life-sise full-length portrait of a lady (Mrs. Charles Fnrse) on 
a wind-swept common, with roUing clouds, in a white silk ooat 
with light blue reTers, nearly full face to the right, in a broad- 
lurimmed straw hat with red flowers. She holds with her riffht 
hand two greyhounds straining in a leash, and her left hand is 
raised to her hat. 

On canvas, 7 ft. 9 in. A. by 5 ft. 10 in. %o. 

Painted in 1903-4. Exhibited at the Boyal Academy in 1904. 

Purchased, 1906, out of the Clarke Fund. 



No. ■ Heroic Equestrian Portrait of Field-Marshal 

Earl Roberts^ K.O., F.(7., O.M. 

This picture, for which sereral studies exist, painted about 1993, 
(See Catalogue of the Burlington Fine Arts Club Exhibition, 
1906), was interrupted by the artist's illness, and had not been 
touched again up till the time of his death. Lord Boberts, in 
field-sernce kit, is mounted on his bay horse ' Saracen/ and turns 
in his saddle towards the spectator. Colours are borne behind hina, 
to the left, by two Indian soldiers on foot. He is followed by 
two English orderlies and a troop of native lancers. To the right 
the ground falls away, and Highland troops are roughly indicatod. 
In the sindies a battle is proceeding here, with rolling smoke-clouds. 

Cauvas, 11 ft. 2 in« h. by 14 ft 11 in. w. 

Lent by His. Charles Furse, 1906. 



aXBSOX (John), 

B. 1790. D. 1866. 
John Gibson wab bom at Gyffen, near Conway, and was the son 
of a miirkbt gftrdenei*. When he was nine years of ag^ hiis iiiithW ixA 



GIBSON. 101 

mother removed to Liyerx>ool) where a stationer named Tournean 
lent the young artist drawings and casts to copy. At the age of 
foorteen he was bound apprentice to Messrs. Southwell, and 
Wilson to learn cabinet-making. After a year he was moTed mto 
the wood-carving department, and was much employed in that art. 
In 1816 he exhibited at the Boyal Academy two portrait busts, 
one of H. Parkes, and a ^' Psyche borne on the Wings of Zephyma." 
The last work he did in Liverpool before he left for London in^ 
1817 was a mantel-piece for Sir John Gladstone, the father of 
William Ewart Gladstone. He dreamed a dream that a great 
eagle carried him away to Rome, so he forthwith set out and 
arrived in the Eternal City on the 20th of October in the year 
1817. He was welcomed by Canova in a generous manner. 
During his first residence in Rome he carved the "Mars and 
Cupid,*' now at Chatsworth, a ** Psyche and Zephyrus,*' for Sir 
George Beaumont, a bas-relief of ''Hero andLeander" for the 
Duke of Devonshire, the " Hunter and Dog " for Henry Sand- 
bach, and "Hylas and the Nymphs/' now in this gallery. In 
the year 1833 he waa ejected an Associate of the Boyal Academy 
of Arts, and a full Academician in the year 1838. During 1844 
he was in London, but he returned to Rome and remained there 
during all the troublous times of 1847 to 1849. When the 
French came to Rome he removed to Lucca. In 1850 he came^ 
back to London to model the statue of Her Majesty the Queen, . 
with the figures of Justice and Clemency, for the Princes' Chambert 
in the Houses of Parliament. He took five years to complete for. 
Mr. Preston the celebrated statue of Venus, known as " The Tinted^ 
Yenus," and would not part with it for four years more after that. 
It was a replica of the uncoloured statue carved for John Neild- 
after the artist's sojourn in Lucca. ''The Tinted Yenus" was 
exhibited at the International Exhibition of 1862, and was much 
discussed and admired. John Gibson died in Rome on the 27th> 
day of January, 1866, aged 76 years. With the exception of a 
few small legacies, he left his whole fortune and the contents of 
his studio to the Royal Academy, and there may be seen a gallery 
full of his casts and some few works in marble.^ 

No. 1746- Hyl4i8 and the Water-Nymplis. 

The Argonauts landed on the Asiatic Coast to take on board a 
supply of fresh water, and the boy Hylaa with his companions 

* Dictionary of National BiographT. 



16^' 6IBS0N*— GlLBElRf. 

went t^ the iEonntain with a pitcher to draw water. The watel^- 
nymjphs, enamoured of the beautiful youth, carried him away. 

This group was caryed in marble at Rome for Mr. Hyland in 
the year 1826 ; subsequently it was transferred to the collectioa of 
Mr.: Robert Vernon, who left it to the nation. Inscribed, 
I GIBSON FECIT ROM^. 

; Marble. 6 it. 3 in. A., indndini? the marble base, which is of irregnlar 
■hl^p^fS ft 9 in. Z. by 2 ft 3 in. u). 

Yemen Collection, 1847. 



(Alfred), 1BL,£L, 
No. 1949. Bust of George Frederick Watts, R.A., OM. 

Brqnze on a granite pedestal, 1 ft. 11 in. Ti, 
Presented by Mrs. G. F. Watts, 1904. 



(Sib John), &.A. 
B. 1817. D. 1897. 

' • * ♦ * . • - 

John Gilbert was the son pf George Felix Gilbert, a member 
of a Derbyshire family. He was born at Blackheath on^ the 2Ut 
Jnly^ 1817, and from childhood displayed an extraordinary fond- 
ness for drawing and painting. Nevertheless, his father accepted 
an offer of employment for the boy in the office of Messrs. Dickson 
ft Bell, estate agents, in Charlotte Row, London. Yi^ding at last 
to hiB natural bent, he was allowed, to tak^ up art i^ his own.way, 
which included but little . advice from others, his only teacher 
beiBg George Lance, the fruit painter. In 1836 he exhibited 
some drawings at the Society of British Artists, characteristically 
illustrating scenes from ShaJceapeare and .Scott, and from 1837 a 
nnmber of .works in oil at the British Institution, including s^nea 
from> *^Don Quixote," **The Spectator," and the times of the 
Ojivaligra. Gilbert exhibited at the Royal Academy from 1838, 
beginning with the " Portrait of a Gentleman," and continuing, 
except between 1851 and 1867, till his death to exhibit there 
many of his best and more ambitious works. He was elected 
AflHO^iik^e in 1872, and Royal Academician in 1876. He also sent 
no fewer than 27Q .water-<^Qlour drawings to the Royal Society of 
Painters in Water-colours from the time of his election as 



GILBERT. 103 



4) . » . - «' 



associate exhibitor in 1852. He was elected full member in 1855, 
and President of the Society in 1871, shortly after, which he was 
knighted. Gilbert as fin illustrator of books, paga^es^ and even 
newspapers, produced an astounding, number of designs with 
abundance of energy and invention. His designs contributed to 
the success of the early numbers of the Illustrated London News, 
He illustrated Shakespeare and a gseat proportion of the drama- 
tic literature and poetry of England and of the classics of other 
countries besides. He died on 6th .QctoW^ 1897. He was a 
member of many other societies, and was a Knight of the Legion 
of Honour. 

No. 1931> Old Oravel Pit in Greenwich Park. 

,. 't . 

A rugged caravan of travellers, mostly on toot, , pass along 
from right to left under a group of trees by the side of an old 
gravel pit. Initialed and dated 1893. 

Water-colour, 1 ft. 3^ in. h. by 2 ft. ^ in. to. 

Beq[ueathed by Mr. Qeorge Gilbert, in 1904. 

No. 1932ta Bringing up the Ghms. 

Some soldiers of the seventeenth century in the smoke of 
battie are bringiqg their qumber^qqaja aftm??y.»"J*Q ,|K5tioji by 
working at the whe>fil§, piou^tecl . pj^cers ip^ puirasses ^d ihe gay 
dress of the Cavaliers are directing the operation. Initialed and 
dated 1889. , « .. . 

Water-colour, 1 ft. If in. A. by 1 ft. 5f in. to. 

Bequeathed by Mr. G^rge Gilbert. 

No. 1933« Cardinal Wolsey and the Duke of Buck- 
inglham. 

j A scene from Shakespeare's play of Henry YIII. 

I " Enter Cardinal Wolsey, the purstf boriM' t>6fQre him, certain of the g^aard, 

I and two secretaries with paper. The Cardinal in his passage through the 

I asteohamber of palace flzeth hiq eye on Buckingham, and Baokingham on 

him, both f nil of disdain." 

Buck, :— " This butcher's ctir is venoin-motrthed, kiid 1 

Hava not the powet to muasle hina ; l^iArefore best 
l?ot wake him in his slumber. A beggar's book 
Oat-worth's a noble's blood." 

Signed, John Gilbert, 1861. 

Sepia drawing, 6^ in. A. by 10 in. to. 

Bequeathed by Mr. George Gilbert, 1904. 



104 GLBNDENINO— GOOD. 

No. 1934. T?ie Happiest Land. 

An illastration to LdDgfellow's translation of a modern Ger- 
man ballad. Four men seated around the rustic board by an 
alehouse on the Bhine are being served with wine by the land- 
lord's daughter ; a Swabian and a Saxon proceed to praise their 
own lands. 

** * Hold yonr tongues 1 both Swabian and Saxon 1* 
A bold Bohemian crieii ; 
* If there's a heaven upon this earth 
In Bohemia it lies. 

There the tailor blows his flute. 
And the cobbler blows the horn. 
And the miner blows the bngle 
Over mountain, gorge, and bourne.' 

And then the landlord's daughter 
Up to heaven raised her hand. 
And said: *Ye may no more contend 
There lies the happiest land.' "—Lotujfellou, 

Signed, John Gilbert, 1862. 

Water-colonr, 8f in. A. by 7^ in. w. 

Bequeathed by Mr. George Gilbert, 19(X1. 



(Alfbbd, Jun.). 

No. 1718. Haymaking. 

In a meadow by a river a young labourer and an old grey-bearded 
man are mowing the grass with scythes ; further away to the 1^ 
three girls in sun-bonnets are at work tuminff the hify ; behind 
them are some willows. Initialed and dated 189o. 

Water-colour, 2 ft A. by 3 ft. u;. 
Bzhibited at the Boyal Academy in 1898. 
Ohantrey Purchase, 1898. 



OOOD (Thomas Swobd). 

B. 1789. D. 1872. 

T. S. Good was bom at Berwick-upon-Tweed, December 4th, 
1789, and was originally brought up as a house painter. He 
eventually adopted painting as a fine art, imitating the style and 
subjects of Wilkie ; and produced several excellent pictures. He 
was an exhibitor for fourteen years at the Boyal Academy, but 
having inherited some property through his wife, he finally 



GOOD— QOODaLL. 105 

abandoned the practice of painting as a profession. He exhibited 
between the years 1820 and 1833, inclasive, twenty pictures, of 
ordinary domestic scenes, as — '* A Scotch Shepherd " ; *' Music ; " 
" Two Old Men who fought at the Battle of Minden " ; " North- 
ambrian Piper"; "Practice"; " Rummaging an old Wardrobe" ; 
" Smugglers Besting " ; « Fishermen " ; " Idlers " ; " The Truant "; 
•* Merry Cottagers " ; " Medicine " ; " The Industrious Mother," 
&c. He died in his own house on the Quay Walls at Berwick, on 
the 15th of April, 1872. 

No. 378- The Newspaper. 

The interior of a cottage, a man seated in an arm chair reading 
a newspaper. 
On wood, 9^ in. h. by 7^ in. to. 
Engraved by 0. W. Sharpe. 
Vernon Ck>llection, 1847. 

No. 917. No News. 

An old man in a clerical suit of black has fidlen asleep over 
his newspaper. 

On wood, 21 in. A. by 17 in. to. 

Beqneathed by the painter*^ widow, Mrs. Mary Eyana Good, in 1874. 

No. 918« Fisherman with a Gun. 

On the sands by a rocky shore a fisherman with a gun is watchiug 
for sea guUs. Signed T. S. Good, 1832. 
On wood, 16 in. A. by 19 in. to. 
Exhibited at the Royal Academy in 1832. 
Bequeathed by the painter's widow in 1874. 

No. 919. Study of a Boy. 

A boy seated at a table, with his right hand on an open book. 
On wood, 11^ in. A. by 9| in. to. 
Bequeathed by the painter's widow in 1874. 



OOODAIili (FBBDBB4GK), &.A. 

B. 1822. D. 1904. 

Frederick Qoodall was the son of the eminent engraver Edward 
Goodall. He was bom in London, in 1822. Before he was fifteen 






ttfi^" 













"^ 4« ^' but 






ibJLLi— ^>"»T-n "■ ■ , ■ 




WLISZ4. 



K. IffiZ. D. 190L 

Fiederick GooWiinMlittHBof tke 

QoodaO. He 



BrfW*^ 



106 GOODALL. 

he won the " Isis " and the large Silver Medal of the Society of 
Arts. In 1838, he went on a sketching tour through Normandy. 
In 1839, when but seventeen years of age, he exhibited a picture 
" Card Players/' at the Boyal Academy. He obtained materials 
for the subjects of many of his pictures by visits to Ireland, 
Kormandy, and Brittany. One of his early pictures^ " Xhe {Letum 
from the Christening,*' obtained a prize of £50 frpm ^1^ British 
Institution. Two others, " The Tired Soldier " and " The Tillage 
Holiday," are now in this Gallery. Other important pictures in 
this manner were " Hunt the Slipper " and " Raising the. Maypole," 
1851, and a scene from Milton's " L' Allegro." In 1853, Goo^aU was 
elected an Associate of the Boyal Academy, two years iater< lie 
exhibited '* An Episode of the Happier Days of Charles I," after 
this came "The Swing," 1855, and "Cranmer at the Traitor's 
Gate," 1856. In 1857, Goodall visited Venice and Chioggia making 
studies for his picture " Felice Ballarin reciting Tasso," e:|hibited 
in 1859. The winter and spring of 1858-1859 wete spent in 
Egypt, and several pictures were the result of that visit. In 1863, 
Goodidl was elected Boyal Acadamician, and ^\ The Song 9f ^he 
NuDian Slave" was his diploma work. Most of ]^s.]a|ier.work has 
been devoted to Eastern subjects, especially the Valley of the Nile 
such as " Bising of the Nile," 1865, " Bachel and her Flock," 1876, 
" The Daughters of Laban," 1878, " An Egyptian Pastoral," 1«80, 
"Finding of Moses," and "Gordon's last Messenger," 1885. 
GoodaU died in 1904.* 

No. 450. A Village Holiday of the olden time. 

*• When the merry bells ring ronnd, 
And the jocund rebecks sounds 
To many a yonth and many a maid, 
Dancing in the cheqnered shade ; 
And yoimg and old come forth to play 
On a snnshine hohday." 

''MiU(m*8'*L' Allegro,** 

Under the shadow of an oak some villagers are dancing before an 
old country inn bearing the sign of the " Boyal Oak." The windows 
are crowded with spectators ; to the left are three musicians, who 
have taken refuge under the shade of the yast tree. Iuj he fore- 
ground is a hawker, exhibiting his trinkets to some of the more 
elderly women of the party, and to the right of these, some of 



* Men and Women of the Time* 



GOODALL-GOODWIN. 107 

the elder villagers are seated at tables enjoying a sabstantial 
repast. 

On canvas, 3 ft. 4 in. A. by 5 ft. 7 in w, 

Bngraved by J. Carter. 

Exhibited at the Eoyal Academy in 1847. 

Vernon Collection, 1847. 

No. 451. The Tired Soldier, resting at a Roadside 
Wed. 

A soldier is seated by a well drinking from the pitcher of a 
yoang girl, who watches bim with interest. > An old m(p on the 
other side of the picture returning from market, wbo nas stopped 
to^ watra his horsey shows the like interest in the weary wayi^r. 
The scene is French. 

On canvas, 2 ft. 34 in. h, by ^ ft. t9. 

Bngraved by F. Croll. 

Exhibited at the Boyal Academy in 1842. 

Vernon Collection, 1847. 

No. 1962- The PUmghman and the Shepherdess ; Time 
of Evening Prayer. 

** Man's love is of man's life a thing apart, 
'Tis woman's whole ezi^tenoe." 

An Egyptian shepherdess sits on a stone at the edge of a pool 
of water at which a flock of sheep come down to drink. A 
ploughman is seen at his devotions a^ajnsjb: ^he sunsfit sky ; his 
yoke of oxen stand in the furrows to the leit ; on the right are 
palm trees and a low range of hills. 

On canvas, 6 ft. 8 in. h, by 7 ft. 11 in. to. 

Exhibited at the Royal Academy of Aits in 18d7. 

Presented by a body of sabscribers, in 1898. 



000]>WZM (Albert). 

No. X550a Shipwreck: Sinhad the Sailor storing his 
Baft. 

*' I was of the number of those who landed upon that moimtain, and, lo ; 
within it was a large island, and npon it were nnmerons goods, on the shore of 
the sea, of the things thrown up by the sea from the ships that had been 



108 GOODWIN— GOTCH. 

wrecked, and the paasengers of which had been drowned. Upon it was an 
abundance that confounded the reason and mind, of commodities and wealth 
that the sea oast upon its shores." 

—The Sixth Voyage of Ba^ndibad of the Sea, 

In front are the raft and the solitary worker ; the rocks of the 
monntainous coast are strewn with wrecks ; vultores are gathered 
on the spars of the stranded vessels ; seen against the angry red of 
a stormy snnset sky. Signed, Albert Goodwin, 1887. 

On canvas, 4 ft. 1 in. ^. by 6 ft. 7 in. to. 
Exhibited at the Boyal Academy in 1887. 
Tate Uift, 1894. 

No. 1900. Ali Baha and the Forty Thieves. 

The famous robber captain of the Arabian Nights and his band 
are carnring their booty up a steep hill side to their cave in the 
rocks of a romantic tropical gorge. Avenues of palms, up which 
the robbers are toiling, lead down to the blue sea. In the distance 
the waves break on a partlv-submerged reef. Ali Baba, who is 
seen hiding in a tree, is watching the approach of the robbers. 

On canvas, 8 ft. 6| in. h, by 4 ft. 7 in. io. 
Exhibited at the Royal Academy in 1901. 
Ohantrey Purchase, 1901. 



dOTOB (Thomas Cooper). 
No. 1590. ''AUeluiar 

** Sing praises to God, Sing praises : Sing praises unto our King, sing praises. 
For Ood is king of all the earth : Sing ye praises with understanding.'^ 
Psalm xlvil, v., 6, 7. 

A group of thirteen children and young maidens formally 
arranged in two rows in front of a simple urchitectural gold back- 
ground, and dressed in richly-embroidered robes, are singinff from 
the illuminated scrolls held in their hands, the words inscribed in 
the background. 

Sancti tui domine Alleluia 

benedicent te, pylori- 
am regni tui dicent. 

Signed, T. 0. Gotch. 
On canvas, 4 ft. 8} in. h. by 5 ft. 11} in. to. 
Exhibited at the Boyal Academy in 1896. 
Chantrey Purchase, 1896. 



GOW. 109 

OOW (Andrew Oabbick)| ft.4L. 

No. X8£9> A Musical Story by Chopin. 

A pale-faoed boy sitting on a liiffh stool is improTinng on • 
harpsichord ; a group of his sohoiu-fellows, drawn from their 
play or their work, are gpathered round ; an usher in blade near the 
window looks up from his book to listen. Signed, A. 0. Gow, 
1879. 

Onoanras, 2 ft. 3^ in. h. by 2 ft. 11} in. w. 
Exhibited at the Royal Aoademy in 1879. 
Tate Gift, 1894. 

No. 1530. A Lost Cause; Flight of King James II. 
after the Battle of the Boyne. 

** At imiTifleoii the third of July he reached the harbour of Waterford, thenoe 
he went by lea to Kinaale, where he embarked on board a French frisate, and 
■ailed for Brest** ^ ^ 

^Lord jraoaiiZsy. 

An officer in a blue coat and red sash, hat in hand, is handing 
the King down the st<^ne steps of a pier to a boat held by two 
fishermen. A French corrette is seen in the offing. On the pier 
above, his adherents on horseback watch his departure with 
unoovered heads. An orderly in scarlet holds the horse from 
which the king has just dismounted. Signed, A. G. GOW, 1888. 

On oanyas, 3 ft. 10} in. A. by 4 ft 11} in. to. 
Exhibited at the Boyal Academy in 1888. 
Tate Gift, 1894. 

No. X588a* Cromwell at Dunbar. 

When Oromwell at sunrise saw the Scots beginning to break, he shouted in 
the words of Psalm 68 :— ** Let God arise, let his enemies be scattered, Like as 
smoke vanishes so shall he drive them away." Later on in the day, as Bnsh- 
worth's letter tells ns— **The Scotch army is shivered to utter ruin, rushes in 
tumultuous wreck hither, thither, ... * The Lord Qeneral made a halt^ says 
Bodgson, and sang the 117th Psalm, till our horse could gather for the ohase." 

—Thomas Garlyle, QromwelVt Letters, vol. iii. 

** O give ye praise unto the Lord 
All nations that be ; 
Likewise ye people, all accozd 
His name to magnify t 
For great to-us-wara. ever' are 
His loving kindnesses ; 
His truth endures for evermore ; 
The Lord, O do ye bless I" 

^BaUs's old metrical vernon ofF^lm 117, 

Cromwell nts bareheaded on his horse in the centre of the 
l^ictHi'e, and is singing the Psalm quoted aboye ; hid cavalry are 



110 GRAHAM— GREGORY— GULIOH. 

. r 

collectiog in line along the edge of a muddy road daring the sing- 
ing of the Psalm ; a wonnded soldier on the field in front raises 
himself, and lifting his right arm joins in the song of praise and 
Tictory. Standards 'o| toe enemy may still be seen in*tae «moke'; 
on the left a trooper brings np a spare charger. Signed, 
A. C. GOW, 1«86. - ' ' "' ^ 

S 'I .• 

On oanvas, ^ ft. 114 }P^' ^* by 4 ft 11^ in. to, 
Exhibited at the i^oya) Academy in 1836. 
Chantrey Parehase, 1886. 



(Peteb), &.A. 

No. U1^ 4 Bainy Day. 

In the wide street of a village in a drenchinff downponr, a bo^ 
hol^ two borsea before t)ie 4oor <^ ^ inn. ^% w)io|e scene u 
seen tfaroi^li ittist and a driving nliii. ' 6igned/ Pbter^ Graiiaiii; 
187;. 

On canvas, 8 ft. 9} in. h, by 6 |t. lOf in. to. 

Eizhibit«4 a^ tbe ^oyal Academy in that year. 

Tkte aift; 1894. 



• . T\i. 



(Edward John), M.A 



V • » 



No. X704s. Marooning. 

A hot and lazy day on the river; a girl in white reclines sleepily 
in her stranded canoe, secored from- the blazing amisbine by m 
scarlet sunshade; she talks to a younger girl in Une aSi^ fed, who 
atand^ on the pebbljr iiSlattd. ' Signed, '»;•?. ^reg<!«*^;l'^.''' ' 

Water-oolonr, 1 ft. 2 in. A. by 1 ft. 5| in. w, ' 
Tate feiift, 1894: " ' '' 



ClUUtOB (John Peiicival). 

IB. 1864. b. 1898. 

John Perdval Gn|ic]ti was born at Wimbledon on the 26th of 
December, 1864 ; he was the sbn of Herman Gnlich, a dty 
merchant, a&9^wa8 ^'dncated at^th~e Charterhouse ; as a boy he was 
noted for the illustrations he added to his school books, especially 



GULICH. Ill 

a free treatment of Xenophon's Anabasis ; he was an accomplished 
fltndent of the violin/ and assisted at the school concerts and 
annnal oratorio. After joining his father's office in Mincing Lane, 
he was sent to Bremen for some five years ; upon his retnm to 
London, he devoted much of his time to drawiiqf ; he worked for 
the illustrated papers and magazines in 1884, and in 1887 abandoned 
his work in the city, giving all his time to hSfl art^ 'from this 
period he became a contributor to " The Graphic!" ' '* The 'White 
Carnival Ball " was one of his designs, the original drawing was 
exhibited at the Royal Academy in 1898. 

Gulich had no artistic training, except attending the life class at 
Mr. Heatherley'sin 'Newman Street for a short time ; ne became 
a member of the Langham Society of Artists, and was President 
Elect at the time of his death. He exhibited etchings and 
drawings at the Boyal Academy in the years 1893, 1895, and 1898. 
Urged by Professor Hubert Herkomer, B.A., he began to paint in 
1897. " The Violin Concerto," now in this gallery, was his first 
important work ; it was successfully exhibited in 1898 at the 
fioyal Institute of Painters in Water Colours — he had just been 
elected a member of this Society. ' Gulich left unfinished a second 
picture, **!in Art School/'^ it was exhibited at lAi'e"ftoyal Institute 
of Paintera" in Water Coldui-s in 1899, after the ' dfeath of the 
artiA; he died at" West Hampstead,' of typWid' fever, on the 
nth of December; 18fe.« ' * ' ' * '^' * 



rf 



No. 17Z5. A Violin Concerto. 

A ^dy dressed in white satin is playing the leading part in a 
vimin'concertbi Slie stands, j^er figure swaying to tHe rytj^m of the 
muMc, in' {font of alarge orchestra of stringed instruments. The long 
train of th6 ^hftd gjati^ f ob'd of thfe principal 'Scrtifit'swfeeiJs' found 
to the frotit of the piatfojtti which is strewn 'Vitb'bffering^ of red 
roses. 'Hov^ng' above* het is dimly seen, iii misty htoB drapery, a 
spirit o| insp^raticm, crowning her with laurel • ■< ; - « r 

Water-colour, 2 ft. 10 iii. i, by 2 ft. 3^ in. w. 

Exhibited at ^e Boyal Institute of Painters in Water CoIquzb, and 

at the Wali»r Art Ga^fflryj piverpool, in 1898. , ' . 

Reproduced in the paper "Black and White," anij in |he "grey 
jViar.** '*•■'■.'■• 

* Presented by Sir Henry Tate, Bart., in 1899. 



• •* The Graphic," and "The Grey Friar, a Oroi^toal by Carthusians," April 

im. 



112 HACKER— HAL3WELLE. 



BAOXJB& (Arthur), A.3R.A. 

No. 1S76> The Annunciation. 

The Yirffin Mary, in s white dreas and a long yeil with a 
pitcher heside her, stands with crossed hands near a fountain in a 
flowery olive garden. The Angel of the Annunciation, in a doady 
hlne drapery with a lily in his right hand, descends from Hearen 
and announces the hirth of the Redeemer. Signed, Arthur 
Hacker, 92. 

On canTRB, 7 ft. 6 in. A, by 4 ft. to. 

Bzhibited at the Royal Acadamy in 1892. 

Ohantrey Pnrobafie, 1893. 



(KSELET). 

B. 1832. D. 1891. 

Keeley Halswelle was bom at Richmond, in Surrey, on 
April the 23rd, 1832. His early talent and liking for art met with 
no encouragement from his family ; however, after drawing for 
the lUuitrated London News for awhile, he went to Edinburgh and 
found work on Robert Chambers' Illustrated Shakespeare, and a 
friend in William Nelson, the publisher who gave him " Robert 
Hench " to illustrate, and eyen offered to send him to Spain or 
Italy *to study. Keeley Halswelle first exhibited at the Royal 
Scottish Academy in 1857. In 1866 he was elected Associate of 
that body. At last, in 1869, he got to Rome, and his picture 
" Roba di Roma " made its mark in the next year's exhibition at 
the Royal Academy of Arts in London, and won a £50 prize at 
Manchester. For the next ten years he exhibited large figure 
subjects, principally Roman, such as " Roman Street-life," in 1870 ; 
<<Oontadini in Saint Peter's," 1871. From the year 1879 he 
exhibited English landscapes at the exhibitions both of the Royal 
Academy and of the Grosyenor Gallery. In 1884 he exhibited a 
series of paintings of the Thames, cs^ed '^ Six Tears in a House- 
boat,*' and also wrote a book on the subject, under the 
same title. He was a member of the Royal Scottish Academy 
and of the Institute of Painters in Oil Colours. He died at 

Paris on the 11th of April, 1891 .« 

» ■■ ii ii li t * .»■ I'lii ■' ■ ■ ■■■» 

• " The Athenaatim " for Aiiril ISth. 1891« and ** Men of our Time." 



HALSWELLB— HART. 113 

» 

No. U4a. Pangboume. 

The Thames above Maidenhead, seen under a quiet sky, with 
flffey fleecy clouds ; the river with its floating water-lilies mis the 
rront of the piotttr^. Signed, Keeley Halswelle, 18S1. 

On canvas, 2 ft 11} in. h, by 4 ft. 5^ in. w. 
Exhibited at the Grosvenor Gallery in 1882. 
Tate Gift, 1894. 



(Solomon A.), R.4L. 

B. 1806. D. 1881. 

Solomon Alexander Hart was bom at Plymouth in April 1806. In 
1820 his father, who had begun life as a goldsmith, removed to Lon- 
don, where he gave lessons in Hebrew, and his son was apprenticed 
to Samuel Warren, the line engraver. Three years later young Hart 
entered as a student of the Boyal Academy, and in 1826 exhibited 
a miniature portrait of his father at the Boyal Academy Exhibition. 
About the same time he became a contributor to the Society of 
British Artists' Gkdlery, where he exhibited portraits and miniature 
oopiee from the old masters. In 1829 he painted two subject pictures, 
▼i«., "Youthful Architecture" and the "Nymph and Satyr;" 
ilie blowing year his " Beading of the Law," a scene in a Jewish 
Synagogue was purchased by Bobert Yemon, who bequeathed 
it to the National Gallery (No. 424). 

In 1829 he exhibited " A Babbi at Prayer," " The Family 
Concert," and three other works. But the picture by which 
he gained earliest notice was his ^' Isaac of York in the Donjon of 
the Oastle of Beginald Front de Boeuf ." For some years after- 
wards Hart contributed regularly to the Boyal Academy Exhi- 
bition, and in 1836 he was elected an Associate of that body, 
receiving the honour of full membership in 1840, when his principal 
picture was " King Henry I. receiving intelligence of the Ship- 
wreck and Death of his only Son." In the following year he 
visited Italy, where he remained for twelve months, bringing home 
with him numerous studies of architecture and scenery. 

Hart's acquaintance with the history and technical practice 
of his art was very considerable, and from 1854 to 1863 he soo- 
ooeded Leslie as P]x>f essor of Painting at the Boyal Academy. In 

(B.A.) H 



114 HART— HAYES. 

1865 he was elected Librarian to the same Institation, an office 
which he held until the dose of his life, discharging its duties 
with zeal and ability. Indeed it is not too much to say that to his 
untiring energy in the acquisition and arrangement of publica- 
tions, whether English or foreign, bearing on the subject, the 
Royal Academy owes the excellence and usefulness of its present 
library. For some years he was Curator of the pictures in Green- 
wich Hospital ; and one of the Art Examiners to the Science and 
Art Department at South Kensington. 

During his early career many distinguished persons of his own 
faith sat to him for portraits, which were subsequently presented 
to Jewish institutions, and shortly before his death he gave one 
of his largest pictures, " The Execution of Lady Jane Grey," to the 
Corporation of Plymouth, his native town. 

His last exhibited work was " The Hoarder," hung at the Boyal 
Academy in 1881. He died in London on the 11th June in the 
same year. 

No. 424. Interior of a Jewish Synagogue at ths Time 
of the Reading of the Law. 

The five books of Moses, here called the Law, contained fifty-three sectioDs, 
80 that by reading one on each Sabbath, and two in one day, they read through 
the whole in the course of a year ; finishing at the Feast of Tabernacles un 
October), which they called the ** Rejoicing of the Law." ^ 

'*The Jewish Doctors, to show their reverence for the ScriptiiresVwaTs 
stood when they read them ; bnt when they taught the people, they sat 
down.*' 

—Burder'a " Oriental Ounom$:' 

On oanyas, 3 ft. 8 in. ^. by 2 ft. 2 in. to., arched at top. 
Painted in 1880. 
EngraTed by E. Ghallis. 
Yemen Collection, 1847 



(Edwin). 
B. 1826. D. 1904. 

Edwin Hayes, of Irish family, was born in Bristol and educated 
as an artist in Dublin. He was a prolific painter of marine 
subjects taken from the coasts of this country, of Holland, France, 
Italy, and Spain. His first picture at the Boyal Academy was 
in the year 1855, and he was a constant exhibitor till 1904. He 
was a member of the Boyal Hibernian Academy, and of the Boyal 



HAYNES-WILLIAMS— HEMY. 115 

Institute of Water-colour Painters. He died on November 7tb, 
1904. 

No. 1603> Sunset at Sea: from Earlyn Bay^ 
Gomwall. 

The snn is setting behind a bank of donds, but stiU shines on 
the sea in the distance, making a long line and pathway of 
light. Signed, E. HAYES. 

On canvas, 3 ft. i in. Jb. by 4 ft. 1} in. to, 

Bzhibited at the Boyal Academy in 1894. 

Ohantrey Pnrchase, 1894. 



(John). 
No. 1SB4. Are LongOj Vita Brevis. 

Short life ebba fast, 
Biii still the pathos of the saddened eye 
■ Biralas at the art, that shall outlive the life : 
Andifpainter more than lover, he that soon 
8haJ| possltway and leave the loved, long art, 
Gases, with dreamy soul, npon his work?* 

Dressed in black, an artist sits before his easel, his wife arranges 
the pillow for his head, while his daughter hanos the palette and 
bmsnes for him to touch ajKain his latest work; studies in red and 
blacJ[ chalk are upon the floor and in the portfolio to our right. 
Signed, Haynes-Williams, 1877. 

On canvas, 4 ft 2f in. A. by 6 ft. 11} in. 10. 

Bzhibited at the Boyal Academy the same year. 

Tbte Gift, 1894. 



(0. Nafibr), A.&.A. 

No. X6S0. Pilchards. 

The scene is at sunrise on the open sea. Two fishing-boats 
crowded with men are hauling in between them a net filled with 
an immense catch of pilchards, and are busy baling them with 
buckets into the larger of the two boats. Nearer in the f orenound 
is a flock of gulls duiing at the stray fish which have escaped from 
the net. A third boat is coming up in the background. Signed, 
0. Napier Hemy, 1897. 

On canvas, S f t. 8| in. h, by 6 ft. Hi in« to. 
Exhibited at the Boyal Academy in 1897. 
Chantrey Puxchase, 1897. 

(B.A.) H3 



il* HEMY— HEREOMER. 

Ko. X#4I9. London River. 

A scene on the Thames below London Bridge, taken from the 
aonth bank of Limeboase Reach ; Lamehoiue Oharoh and Lime- 
house Hole are seen across the river in the distance. A steam tag 
is towing up the Thames the ** St. Lawrence,'* an old Australian liner, 
a full rigged sailing ship, frigate built. The wind blowing against 
the tide causes a considerable "sea" in the reach. A wooden 
'* dolphin " protecting the entrance to a dock forms the foreground. 

On canvas, 3 ft. 11^ in. h, by 6 ft. 1| In. w, 
Ohantrey Parohase, 190tl. 



(Sir Hubert von)^ O.V.O., A.A. 
No. 1575. Fownd. 

**Iii far off days. 
When Lncins here for Roman tribute warr'd 
A noble man. Qiost prinoettke in his weeds, 
Like Posthttmtis that wedded Imogen, 
Fied to t^e lonely hills for peiice to die. 
Htm, 98 he drooped wllfti woimda, eofe spent. 
Attd faintine, tfli h^ almost dropped his sword, 
A feiSBale hitad, a tender of the goats. 
Did And, and paused, amazed."— Om Ptoy. 

GtL a Widlsb monntaiii side, the peak of which is wreathed in a 
grey ctotkd, Hes a Aoman warrior, wonnded and exhausted, his 
Bworff siSil grasped in his flailing hand. A wild, half -clad British 
woman, leading a flock of goats down the cr§g, lias disoOTcred 
him and stands hesitating between womanly pity and distniBt of 
her ooontry's enemy. S^ed, Habert Herkomer^ 84-1M5. 

On oanyas, 4 ft 6 in. A. by 7 ft. 6 in. u^. 
Exhibited at the Royal Academy in 1885. 
Ohantrey Purchase, 1885. 

Ko. 1602. The Cfharterhouse CMpel. 

- Though he fall he shall not be utterly cast down." 

Tt^ FMuonexB of the Charterhouse are assembling for service 
ilk ikft Cluq[Ml. in the eentve of the foregromid we see a typioal 
Bi«IM f e«tl«man, whose upiight carriage shows cleariy lliat his 
•piij|is ib Btk wy broken by adversity. The other faoes express 
nt^itaMM and disSppamtmeBt or resignatf on and ooiitMit. A 
UdM and a boy are watdiing from a pew on i^ l«ft. Stoned, 
Habert Herkomer, 1889. 

On oanvas, 6 ft. 4| in. A. by 8 ft. 9 in. tv. 
Exhibited at the Bqyal Aeademy in the year 1889. 
Ohantrey Purchase, 1889. 



HERRING— HILTON. khj 



(John Fbbobsick). 
B. 1796. D. 18«d. 

This distingnished horse painter was bom in Stirrey, but 
his family was originally Dutch. As an artist he was self-tanght ; 
at one time he was a stage coachman, having driven the '< York 
and London Highflyer '' for four years. He first {)ainted horses 
at Doncaster, and has made portraits of thirty-three successive 
winners of the St. Leger there. Among his best works are 
"Returning from Epsom"; "The Derby Day"; "The Market 
Day"; " The Horse Fair/' Ac. Herring was a frequent ezkihitor 
at the British Institution and at the Royal Academy. He died at 
Tunbridge, Kent, on the 23rd of September t865, in his i^tenty* 
first year. He was animal painter to H.R.H. the Duchew of 
Kent, and His Majesty possesses several portraits of horses by 
him. 

No. 452- The Scanty Meal. 

Study of the heads of three horses, feeding : two pigeons 
are partaking of the meal. 

On canvas, 1 f t. 9| in. h, by 2 ft. 5^ in. to. 
Painted in 1847. 

Engraved by J. Burnet ; and by E. Hacker. 
Vernon Golleotion, 1847. 



BIIiTOH (William), ft.A. 
B. 1786. D. 1839. 

William Hilton was bom at Lincoln in 1786 ; he first worked 
with his father, a portrait painter, and afterwards under John 
B«phai>l Smith, the draughtsman and mezzotint engraver. 

Hilton exhibited at the Royal Academy when he was 17 years 
old, and afterwards, in 1806, attended the Academy schools ; he 
worked with great diligence at the drawing and anatomy of the 
human figure, and soon became known for his refined taste and 
poetical choice of subjects, frequently from Spenser and Milton. 

He was elected an Associate of the Royal Academy ill 1813, 
Boyal Academician in 1819, and in 1827 he succeeded Thompson as 
Keeper. His manners were singularly mild and amiable, and he 
was much beloved by the students of that institution. 



118 {HILTON. 

He married in 1828 the sister of his f ellow-papil, Peter DeWint, 
bat had the misfortnne to lose his wife in 1836. He died at the 
age of fifty-three, in the year 1839.^ 

No. 1499* Nature Blounng Bubbles for lier Children. 

.'*Blow spoitiye bladders in the beamy sun. 
And call them worlds 1 and bid the greatest show 
More radiant colonrs in their worlds below : 
Then as they break the slaves of oare reprove^ 
And tell them, such are all the toys they love. ' 

The Library, by Crabbi, 

Nature, our robnst mother, with her youngest child beside her, 
recUnes npon the ground, near a gashing sprmg. Her frolicsome 
brood lift their hands in deliff ht to the iridescent bubbles she has 
blown for them ; some run after the babbles floating away in the 
distance to the left. 

On canyas, 6 ft. 8 in. A. by 7 ft. 7^ in. to. 

Exhibited at the Bpyal Academy in 1821. 

Presented by Charles Butler, Esq., in 1897. 

No. 1629> Christ Croumed with Thorns. 

** And they stripped Him, and pnt on Him a soarlet robe. 

** And when they had platted a crown of thorns thev pnt it npon His head, 
and a reed in His right hand : and they bowed the knee before Him, sayias. 
Uail King of the Jews."— iSa<n< MaUhew, ohap. zxvii., verses 28, 29. 

Our Sayiour is seated in the middle of the Judgment Hall sur- 
rounded by the tormentors ; a Roman soldier points at Him the 
finger of scorn ; to the left the Jewish priests point to the cross 
being carried in, and repeat their a^ " Oradfy Him ! Orucify 
llim!" The scroll lies in front, inscribed in Hebrew, Greek and 
Latin ; of the latter we can read 

lESYS NAZABENYS 
BEX ICUDAEOBUM]. 

Exhibited at the Boyal Academy in 1825 ; bought by the Directors 
of the British Institution, and placed in the Church of St. Peter's^ 
Pimlioo. 

On canvas, 11 ft. 4 in. A. by 9 ft. 10) in, to. 
Chantrey Purchase, 1877. 

No. X791> Diana at the Bath. 

A study for the picture of "Venus appearing to Diana and 
her Nymphs," Ko. 63,3 in the Wallace collection. The nymphs of 

* Bryan's Dictionary of Painten and Engravers. 



HILTON— HOLL. 119 

Diana are disrobing their goddess for the bath near a stream in a 
shady grove. Two nonting dogs are on the left. 

On panel 8|in. A. by 7 in. to. 

Bequeathed by Mr. Henry Yanghan in 1900. 



(Frank), &.A. 
B. 1846. D. 1888 

Frank HoU was a son of Francis HoU, A.B.A., the engrsTer ; 
he was bom at 8t. James's Terrace, Regents Fftrk, on July 4th, 
1845, and was educated at University College School, Gk>wer 
Street, where he distinguished himself by his ability in drawing. 

In 1860 he became a probationer at the JbCoyal AcMMlemy Schools, 
and a student the next term. He won a silver medal and a 
premium for drawing from the antique, and in 1863 a gold medal 
and scholarship of £25 for two years, for an historical painting of 
'' Abraham sacrificing Isaac." 

In 1864 he first exhibited at the Royal Academy " A Portrait," 
and "Turned out of Church." In the year 1868 he won the 
Royal Academy Travelling Studentship with " The Lord gave, and 
the Lord hath taken away," but he preferred to continue working 
in England. 

For some years he painted sombre and pathetic subjects. One 
of these, "No Tidings from the Sea," was bought by Her late 
Majesty Queen Yietoria in 1871. But he was principally a 
portrait painter ; one of his earliest successes was a portrait of 
Cousins, the engraver, which has been engraved. He was elected 
an Associate of the Royal Academy in 1878, and a full member 
in 1884. 

His strong touch and powerful system of lighting have preserved 
striking images of many of the great and active men of his day, 
such as the Duke of Cambridge, the Duke of Cleveland, Earl 
Spencer, Lord Overstone, Lord Wolseley, Lord Roberts, Sir Henry 
Rawlinson, Sir George Stephen, Major Graham, John Bright, and 
many others. 

In the full vigour of his power, still painting portraits of the 
men of his time, he died of overwork on August 4th, 1888.* 

* " At^enq^um ** for Aug. 4^ 1B88. ** lia^azine of Art^" 187f. 



ISO HOLL— HOLLAND. 

No. &•••. Hush ! 

A poor woman in a cottage looks orer a toagh <sra^ to quiet 
her elder child while her sick baby is aaleet)- Sigited^ Itenk 
Holl, /77. 

On oanTas, 1 ft. 1^ in. A. by 1 ft. 5| in. tr. 

Included in the special exhibition of works by Frank Holl, BJL, at 
the Twentieth Winter Exhibition of the Royal Academy in 1889. 

Tate Gift, 1894. 

No. 1536. Emhed! 

The scene is the same as in No. 1535, but, as the title indicates, the 
drama is concluded, liie mother leans her head upon her hand 
over the cradle ; the eldtor eh^ looks wonderingly at her dei^air. 
Signed^ SVank HoU /77. 

On oaniw, 1 tb. 1^ in. A. bf 1 ft. 6i in* «. 

Imlwded in the spenal selMlian tEOiu the works «f I'sank BW, RJl., 
at the Twentieth Winter Exhibition of the Boyal Academy in 1889. 
Tate Qilt, 1894. 



BO&&AND (Jamm). 
B. 1800. D. 1970. 

James Holland was bom at Burslem, in Staffordshire, in 1800. 
His grandfather, Thomas Holland, was the first mannf ft ct nre r of 
a highly-^zed black pottery, at that time largely exported to 
America, and it is said that young Holland derived his first taste for 
art from studies of flowers painted on this ware. In 1819 he camo 
to London, where he began his professional career as a flower- 
painter. Subsequently a love of Thames soenery uid shipptng 
induced him to turn his attention to landscape painting. 

In 1835 Holland was elected an Associate of the Society 
of Painters in Water Colours, at whose gallery he afterwards 
frequently exhibited. The same year he travelled in Italy, and 
during his stay there painted a large view of the interior of Milan 
Cathedral, which was exhibited at the Buifolk St. Ckillery, as 
well as a notable picture of the Bialto at Yenice, which he sent to 
the British Institution. In 1837 he was engaged by the proprietor 
of the ''Landscape Annual" to execute, for that magazine, a 
series of views in Portugal, which were engraved in 1839. On his 
way back from Lisbon he painted '' The Tomb of the Scaligers," at 
Yerona, for Mr. HoIHer, who also gave him a commission for a 
large picture of Greenwioh Hospital. This work was eventually 



HOLLAND. 121 

presented by Mrs. Hollier to that institution, where it still remains. 
Holland afterwards painted other tiews of the same building for 
the Earl of Ellesmere, I«ord Oharies Townsend, and Mr. John 
Foster, of Liyerpool. In 1841 he visited Paris, where he made 
sereral drawings which commanded a ready sale. He Went to 
Botterdam in 1845, and five years later made a totir in Fermandy, 
whence he brought back numerous sketches of architecture, 
costume, and scenery. In 1851 he went to Geneva, making 
studies of a similar kind, which he afterwards turned to good 
account. To the Fniversal Exhibition, held at Paris in 1^55, 
Holland contributed three works which obtained '^honouxsble 
mention " from the jury for awards. 

In 1857 he re-visited Yenice and the Tyrol, and eolleeted 
Biateriafe for pietures afterwards exhibited st^ie €hilkry €»C 
the Boyal Water Odour Society (where he was now admilrted 
to full mwEibership), and at the London Bidubition of 1868. 

He died on the 12th of February, 1870. 

No. 1Z53« View of Hyde Park Corner^ looking East, 

Showing the architectural additions and alterations conunenoed 
in 1825, m>m tho desig^ns of Decimus Burton, architect. 

On the left is the Ionic screen and gateway which form the 
present entrance to Hyde Park. On the right is the triumphal 
arch which for many years was a conspicuous feature on the 
other side of the roadway, but which in 1881-2 was removed and 
placed at an oblique angle to the south-east of its original site— 
at the top of Constitution Hill. It will be noted that the sculptured 
podium and terminal quadriga, which formed part of the architect's 
design, though never executed, are introduced in this view by the 
painter ; in their stead the large equestrian statue of the Duke of 
Wellington, now at Aldershot, long occupied the top of the arch. 

On canvas, 1 ft. 9 in. h, by 2 ft. 11^ in. to. 

Pamted by the artist for Decimus Burton, tiie architect of the gate* 
way, and presea^ted by his niece, Miss Emily J. Wood, 1888. 

No. 1809- The Grand Ganaly Venice. 

A view of the Piazzetta, the Ducal Palace and the tower and 
domes of St. Mark's from the entrance to the Giudecca Oanal, 
the Dogana with its weathercock of Fortune surmounting the 
Globe on the left ; on the right there is a boat moored to a post 
with the letters I H on the stern board 

On panel 1 It. 4 in. A. by 2 ft. 5 in. to. 
. Bequeathed by Mr. Henry Yaughan in 1900. 



122 HOOK, 



BOOK (Jambs Olabkb), &.A. 

B. 1819. D.1907. 

James Clarke Hook was born on November 21, 1819, at 27, 
Northampton Square, GlerkenwelL His family, said to be of 
mixed Norman and Finnish extraction, originally settled near 
Wooler, in Northnmberland. His father. Judge- Arbitrator Hook, 
was a merchant in the West African trade. Obliged to live at 
times in Sierra Leone, be sent his son to a proprietary school ia 
Islington. At fourteen young Hook left with a prize for drawing, 
and was taken for advice to Constable and afterwards to John 
Jackson. He drew in the British Museum, was admitted to the 
Academy Schools, and worked there for three years. He won 
medals from the Society of Arts, and his first picture, "The 
Hard Task " (B.A. 1839), gained him commissions for portraits in 
Dublin. He contributed unsuccessfully to the Westminster Hall 
competition, but won the gold medal and travelling studentship at 
the Academy, and went to Italy for three years, with the wife he 
had married on getting the news of his success. From Florence he 
sent " Bassanio commenting on the Caskets,*' to the Academy of 
1847, and " Otho lY. at Florence " in the following year. He 
went on to Venice, but was forced to come home by the Revolu- 
tion of 1848. He settled at Brompton, won his associateship 
(1850), by other Italian pictures, and built a house on Campden 
Hill (Tor Yilla, afterwards Mr. Holman Hunt's and Mr. Alfred 
Hunt's) ; then went to Abinger in Surrey, and began his real work 
by the harvest-field picture called " A Few Minutes to Wait before 
Twelve o'clock" (1853). In 1854 Clovelly was discovered, and 
from that time begins the series of pictures on the western coasts 
with which Mr. Hook's name is associated. " Luff, Boy I " in 
1859, was the picture that made him famous. In 1860 he was 
elected B.A. Shortly afterwards he settled at Churt, near 
Famham, and built himself the house called Silverbeck. This 
remained his home to the end, and it was here he died on April 
16th, 1907 ; but painting excursions carried him to Cornwall, the 
Scilly Isles, to Holland and Norway. His appearance in late 
years, that of a weather-beaten salt, is well rendered by Millais' 
portrait. His portrait by himself, painted by invitation for the 
U£&u cpUectipn, was exhibited at the Royal Academy in 1891. Ji 



HOOK. 123 

oollection of his pictares was shown at the Old Masters' Exhibition 
of 1908. 

No. 1512. Home with the Tide. 

A number of fishing boats are retnnung to a rooky haven after 
a night's fishing. The tide is coming in with a fresh breeze. In 
the middle distance is a groap of women preparing the fish for the 
market, and a woman with a baby wraj^ped in her shawl is seated 
in the immediate f ore^ound. Signed with the artist's rebns — 




On oanvas, 2 ft, 104 hi* A. by 4 ft 6| in. u>. 
Exhibited at the Royal Academy in 1880. 
Tate Gift, 1894. 

No. 1513- Young Dreams. 

A girl and boy are talking on a cliff top from which is a view 
across a rocky t»y looking oat to the open sea beyond. Signed, 
as in No. 1512, and dated 1887. 

On canvas, 3 ft. 6 in. h. by 4 ft. 7^ in. io. 

Exhibited at the Eoyal Academy in 1887. 

Tate Gift, 1894. 

No. 1S14. The Seaweed RaJcer. 

A fisher girl with a rake in her hand is standing on a sandy and 
roeky shore looking ont to sea. In the middle distance is a low 
rocky island, under shelter of which lies a «roup of fishing boats. 
The open sea is seen beyond. Signed, as in liTo. 1612, and dated 89. 

On canvas, 2 ft. 4| in. A. by 4 ft. ^ in. lo. 
Exhibited at the Royal Academy in 1889. 
Tkte Gift, 1894. 

No. 1598. The Stream. 

" Giving a gentle kiss to every sedge 
He overtaketh in his pilgrimage, 
And so by many windmg nooks he strays. 
With willing sport, to the wild ooean." 

A thatched farmhouse stands on our right, there is a sronp 
of milkmaids attending to some cows, one is coming to drmk at 



124 HOPPNER—HOPWOOD. 

the aUMtt iriMh ntfadt Mr«y to the sea. Signed, as la IiU>. 1512, 
and dated '85. 

On oanvaB, 8 ft. 1^ in. ^. by 4 ft. 11 in. to. 
Bxhibited at the Royal Aoadengr of Arts in 1886. 
Gbantr^ Porobapei 1886. 



(John), AaA. 

B. 1758. D. 1810. 

John Hoppner was bom in Lo&dan In 1758. When young, he was 
one of the choristers of the Boyal Chapel ; bat he gave np mnsiG 
for painting, and entered as a student in the Royal Academy. He 
soon became, through the patronage of the Prince of Wales, a very 
fashionable portrait painter ; Sir Thomas Lawrence was for many 
years his only rival. He was elected an associate in 1793, and a 
member of the Royal Academy in 1795, and contributed 166 works 
to its exhibitions. Hoppner died of dropsy in 1810, in the fifl^-first 
year of his age. Sir Thomas Lawrence thus spoke of him in a letter 
to a friend, shortly after the painter's death : — " Ton will believe 
that I sincerely feel the loss of a brother artist, from whose works 
I have often gained instruction, and who has gone by my side in 
the race these eighteen years."* 

-^ No. 1505a Portrait of a Lady, 

A lady in a white dress is drawing in a red-bound sketch-booki 
and looking to her tight; in the distance is a landscape with 
rolling clouds. A rock and trees form the background to the 
head. 

CanTas, 4 ft. If in. A. by 3 ft 8| in. to. 

Tate Gift, 1894. 



BOPWOOD (Henrt Silkstonb). 

No. 1706- Industry. 

An old Yorkshire fishwife sits by a window opening mussels, 
to be used for bait, intC' an earthenware basin; a boy works on a 

* Otmningham ; Lives of the moat Eminent British Painters &o ; Boyal 
Academy Oataloirnet. 



HOPWOOD— HORSLEY. 135 

alaie at hia lessoiu; a pot hansa over the fire. Signed on the wood 
beneh where the w<HBa& sita, H. S. Hopwood, 1894. 

Wat»r-eoIonr, 2 ft. 7} in. A. by 4 fit. 1| in. w. 
Exhibited at the Boyal Academy in 1894. 
Ohantrey Pnrohase, 1894. 



(John GALLCotr), &.A. 

B. 1817. D. 1903. 

Jehu OaUoott Horaley wee bom in London on January 89th 
1817. He was the wm of WilKatn Horsley, tiie mnsieian. 
Hordey studied at the Royal Academy Schools, and at the age 
of nineteen produced the picture "Rent Day at Haddon Ball 
in the Sixteenth Century/* which was prataed by WiAtte. *' The 
Pride of the Yillage," now in this Gallery, was the first piicture 
Horsley exhibited at the Royal Academy. In 1843 his cartoon 
of " St. Augustine Preaching " gained one of the 200 guinea prizes 
in the Westminster Hall competition, and in 1844 he obtained a 
place among the six painters commissioned to execute further 
designs for the Palace of Westminster. Horsley, with Cope, a 
fellow competitor, went to Munich to study fresco painting, and 
afterwards proceeded to Italy to see the works of the early 
Italian masters. His fresco in the House of Lords, called '' The 
Spirit of Religion," painted in 1845, may be said to be the 
result of this journey. Another painting in the same medium 
is to be found in the Poets' Hall of the New Falaee, and is 
entMed, '< Satan surprised at the £ar of Bre " ; and " Henry Y., 
believing the King dead, assumes the Crown," a latge eil paint- 
ing of 1847, secured Horsley a premium of the third elais. Of 
his easel pieces some of th^ better kDown are **Malyolio in the 
Sttn practising to his own Shadow," ^'Hospitality," tanA two 
paintings coitamissibned by idle Prince Consort, ** L' Altegto '* and 
** B Penseroso." For two frescoes painted ^r tlie Hall of 
Somerleyton, Horsley went back to early Bng^flh Mstoij, and 
represented incidents in the childhood of Alfred the €hmit. In 
1856 he pnrehased WiResley, at Oranbrook, in Kdnt, ginng his 
first commission to Mr. Nommn Shaw to resti^n and enhone the 
hoose. Here he painted some of his rustic pieces, such as '* Hide 
•imd Seek," children playing in Cranbrook Churchyard. He was 



126 HORSLEY— HUNT. 

elected an AsBOciate of the Boyal Academy in 1855, and one 
year afterwards full Academician. During the eighties Horsley 
made his energetic protest against the nude in art, bat he will 
always be remembered for the valaable work he did from 1875 
to 1890 in connection with the Winter Exhibitions of Old 
Masters at Burlington House. For a number of years he also 
filled the office of treasurer to the Boyal Academy. He died at 
his residence in High Bow, Kensington, in 1903. 

No. 446. The Pride of the Village. 

"She never eyen mentioned her lovei's name, but would lay her head on her 
mother^Bboeomandweepin aUence." _,,._, ,._.-«,..«,- 

—WatMngUm Irvini^9 " SkeUh BookT 

On wood, 2 ft. 4| in. h, by 2 ft. i in. to. 
Engrayed by G. A Periam. 
Exhibited at the Boyal Academy in 1889. 
Vernon Collection, 1847. 



BUNT (Alfred Williah). 
B. 1830. D. 1896. 

Alfred William Hunt, MA., B.W.8., a refined and subtle land- 
scape painter, like his true master. Turner, was bom in a town. 
Andrew Hunt, an artist, of Liyerpool, was his father, and Alfred 
William Hunt was bom at Liyerpool in the year 1830, and there he 
first exhibited at the early age of twelye years. Painting and study- 
ing his books with equid success, he won an exhibition of forty 
pounds a year at the liyerpool Collegiate School, and in 1848 gained 
a scholarship at Corpus Ohristi College, Oxford ; notwithstanding 
this he conhnued his painting and drawing, and became a member 
of the Liyerpool Academy in 1850. Li 1851 he won the Newdigate 
Prize for English yerse, his subject being *^ Nineyeh," and in 1852 
he took his degree with a second class in classics, and became M.A. 
in 1855. " It was a mere accident," as he grayely said, " that hia 
existence did not become Academic," for he tried for a *' Master- 
ship," which, fortunately, he did not obtain ; but he did obtain in 
the year 1857 a Fellowcdiip in his college. In the year 1854 he 
exhibited at the Boyal Academy a yiew of Wastdale Head, from 
^^ Btyhead Pass, Cumberland." In 185G, " Summer Eye by Haunted 
Stream " was at the Portland Gallery, and " Uyn Idwal," which 



HUNT. 127 

Wyatt, the Oxford printBeller, had been minded to Bend to the 
Royal Academy, was hung upon the line, and was much praised 
by John Bnskin. This decided him for Art, and that same year 
he became » member of the original Hogarth Clnb, which was 
just f oonded, and was the centre of the Pre-Baphaelite forces. 
In 1857 he had two pictures and a drawing badly hung at the 
Boyal Academy, and in 1858 his elaborate '* Track of an. Old-world 
Glacier," was sdtogether refused. His works were mostly exhibited 
at the Society of Painters in Water-colours, of which he was 
elected an Associate Exhibitor in the year 1862, when he was 
settled in the city of Durham ; he became a full member two 
years afterwards, 1864. In 1866 he removed to London, taking a 
house on Campden Hill, Kensington. He continued to work, 
principally in water-colours, until the year 1870, when he again 
sent to the Boyal Academy ; he exhibited nineteen oil pictures 
there since that date; and five at the New Gallery. He exhibited 
in all 343 water-colours at the Boyal Society of Painters in Water- 
colours ; there was an exhibition of his pictures at the rooms of 
the Fine Art Society in 1884. He died in the Maytime of 1896 of 
bronchitis. In the year 1882 he was elected Honorary Fellow of 
Corpus Ghristi College, Oxford.* 

No. 1703- Windsor Castle, 

The Bound Tower lit by the rays of the setting sun shows up warm 
and light against the pearly sky ; a pale full moon rises behind 
Baint George's Chapel. The whole is reflected in tiie rippling 
river ; the ferry-boat crosses from the opposite landinff place. On 
this side are many rowing boats, some swans, and children playing 
on the bank. Signed, A W Hunt 1889. 

Water-colonr, 1 ft. 7 in. ^. by 2 ft. 6 1 in. to. 

E^iibited at the Royal Society of Painters in Water-colonn in 1889. 

Tate Gift, 1894. 

BVIVT (Walter). 
No. 1581.* The Dog in the Manger. 

In a large stable or cowhouse two very young calves stand in 
dismay at seeing a fox> terrier puppy sleeping in their manger. In 
the foreground is a group of hen and chickens gathered round a 

* *'Men and Women of the Time," "The AtheneBnin;' May, 1896, "The 
tfa^razine of Art," " The Boyal Academy Catalognes.', 



128 HUNT. 

Baaoer on the floor, and near an open door in the difltanoe is a 
barrow of tumipe and some poultry. Signed, W. Hunt 85. 

On oanvag, ^ ft. 3 in. h, hj 5 ft. 5^ in. w. 
Exhibited at the Royal Aoademy in 1885. 
Ghantrey Pnrchase, 1886. 

HirirT (William Henry). 

B. 1790. D. 1864. 

William Henry Hnnt was a still-life and subject painter in 
water colours. He was born at 8, Old Belton Street (now Endell 
Street) Long Acre, on March 28th, 1790. He was a sickly child, 
and amused himself with drawing. When old enough, and, after 
considerable objection on the part of his father, a tin-plate 
worker, he was apprenticed to John Yarley. He also received 
much encouragement in his early efforts from Dr. Munro. In 
1807 he was admitted as a student of the Royal Academy Schools, 
having already exhibited there during that year. He first found 
employment in painting gentlemen's country houses and in teach- 
ing. He exhibited at the Water-Oolour Society in 1814, but he 
did not definitely join the Society till 1824, when he was elected 
an associate, and in 1827 a full member. Thenceforward he 
contributed regularly to its exhibitions, frequently sending from 
twenty to thirty drawings in a year. In his early period Hunt 
painted landscapes, poultry, and vegetables ; he then turned to 
humourous rustic subjects, and in his later years painted fruit and 
flowers with great detail and fidelity. His figure pieces are full of 
a quaint humour, especially his country boys aad girls. He was 
deformed, and throughout his life suffered from weak health, on 
this account he lived much at Hastings, where he obtained many 
of his rustic subjects. He died at 62, Stanhope Street, Hampstead 
Boad, London, on February 10th, 1864, having exhibited nearly 
800 drawings at the Water Colour Society's exhibitions alone. He 
was a member of the Boytd Academy of Amsterdam. 

No. 1970. An Old Marias Head. 

A study of an eld man's bead, he is turned to the right and has 
long iron grey hair combed back from a high forehead, and a 
bushy square beard. Signed, W. Hunt. 

Water colour, 9^ in. A. by 8^ in. to. 
Bequeathed by Mr. Charles Fraser in 1905. 



HUNT. 129 

No. 1971. A Peasant Oirl. 

A peasant girl in a long brown cloak is leaning forward on a 
atone wall. She looks smilingly over her shoulder out of the 
picture. Signed, W. Hunt, 1838. 

Water colonr, 1 ft. 8^ in. A. by 11 ^ in. w. 

Bequeathed by Mr. Charles Fraser in 1905. 

No. 1972. Fruit. 

A frait piece oonsisting of black and white]Igrapes, purple and 
yellow plums, red currants, two apricots and a peach piled up 
together with a bunch of immature cob-nuts on the right. Signed, 
W. Hunt. 

Water colour, 8^ in. A. by lOj^ in. to. 

Bequeathed by Mr. Charles Fraser in 1905. 

No. 1973. A Water Carrier. 

A boy in a smock frock and a blue Tam-o-shanter is standing 
with a yoke on his shoulders and wooden buckets of water on the 
ground on either side. 

Water colour, 1 ft. 3 in. h, by 10} in. w. 

Bequeathed by Mr. Charles Fraser in 1905. 

No. 1974. Apples. 

Two apples of contrasting colours are side by side on a mossy 
bank, there is a bleached and empty snail shell on the left. 
Signed, W. Hunt. 

Water colour, 5J in. h, by 7^ in. w. 

Bequeathed by Mr. Charles Fraser in 1905. 



BUSVT (William Uolman), O.K. 
Uo. ^120. Tfie Ship. 

" I hear the noise about thy keel, 
I hear the bell struck in the night, 
I see the cabin window bright, 
I Boe the sailor at the wheel" 

Tennyson—Zn Memoriam. 

The scene is the deck, at nigbt, of a P. and 0. steamer in the 
(B.A.) I 



iglO HUNT— HUNTER. 

Mediterranean. The sky is deep blae^ with staiB and a moon in 
her first quarter. Contrasted with this is a rush of red sparks 
from the funnel. In the foreground, right, a sailor, with his back 
to the spectator, stands at the wheel. Beyond him a canvas 
awning stretches over a boom from side to side. Against the 
bulwarks to the right a passenger stands holding his cap on with 
one hand and a field glass in the other. To the left iEt H&dj is 
seated, looking up at the stars ; a kitten rubs itself against her 
skirts. From the ** cabin window bright *' in th^ dentin ^ hifad 
passes a key to a lascar who crooches outside. Further away two 
j[>as^engeite, a man and Woman, are seated amidships. The picttire 
was painted in 1B75, when the artist was on his w^y to Sylria, at a 
time when the old-fashioned steering gear, a wheel at the sterii, still 
persisted. "It was evident th&t this opportunity 6f illiistrating 
Tennyson's lines could not be postponed. The lurtist, ther^ore, 
made drawings and night studies of effect, and on his arrival in 
Syria, with the scene still fresh in his mind) he painted this picture." 
(Catalogue of exhibition at Leicester Galleries, 1906). Signed with 
monogram, aiid dated. 

On canvas, 2 ft. 5^ in. h, by 3 ft. If in. w. 

Bought by subscription from the Painter and presented, as a meihorial 
of the artist's eighty-first birthday, through a Committee of which Lord 
Carlisle was Chairman, Canon Bawnsley, Hon. Secretary, and the Bev. 
H. G. Woods, Master of the Temple, Hon. Treasurer. 



(Colin), iL.R.A. 

B. 1841. D. 1904. 

Colin Hunter was born in Glasgow, on July 16th, 1841. His 
father was John Hunter, bookseller and postmaster of Helens- 
burgh. He was educated in that town and biagan painting at 
twenty years of age, after a four years clerkship, He studied 
principally from nature. Hunter began to exhibit in London in 
1866, his pictures being mostly sea pieces, such as '^ Trawlers waiting 
for darkness," 1873, " Sahnon Stakid Nets," 1874, now in the Sydney 
GbVciriinlent ColliB'cti^n ; " Their only Harvest," l^'^? now in this 
Gallerjr ; "Waiting for the HdmeWard Bound," 1888) now ill the 



HUNtER-^HUftLSTONE. 131 

iAidei^e OoUedaon ; " H^rrinif Market at Sea/' 1884, in the ool- 
leDtien of the Manchester Corporation ; and ^^ The Bapids of 
Niagara," 1885; Hnnter was elected an Associate of the Royal 
Academy in 1884^ and was also a member of the Boyal Scottish 
Water Odour Society. He died in 1904.» 

No. IBTBh Their Only Sarvest. 

On a rough sea at evening, off a desolate coast, a girl and two 
k&Bn are hooking into a boat their harvest of seaweed for kelp- 
inaklng. The snn has gone down and the yellow Sky is reflected 
in the sw^ of the Atlantic rollers. Signed, GoLtK HuNtSK, 1879. 

Oh (oanyas, t ft. 5| in. A. by 5 ft. llf in. to. 
Exhibited at the Boj^al Academy in 1879. . 
Cikantrey Purchase, 1879. 



(J. Young). 

Ito. Xim^Hm My Lady^s Garden, 

On a lawn, Which is divided from a garden behind by h row Of 
espalier fruit trees, a richly-dressed lady is bringing food in a 
Tenetian glass dish for three peacocl^, whose brilliant colours are 
relieved on the green of the grass. The scene is laid in a formal 
pleasance sheltmd by high yew hedges, poplars, and cedars, seen 
dark against the evening Sky. The garden iS cat into sp^U and 
curves by geometripal beds, outlined with box-e<iging. The lady 
wears a wmte cap that comes over the eais, a yeflo^ gdwn. with 
bine iHgiertioiis, embroidered in gold, and large sleeves linea with 
purple velvet. 

On canvas, ^ fk 6 in. h, by 5 ft. 11 in. to. - 

Chantr^^ Purchase, 1899. 



ttttltXiS^E'bilffi (Fredbriok ITeatbs). 

B. 1800. D. 1869. 

Frederick Yeates Hurlstone, President of the Royal Society of 
British Artists, SufEolk Street^ was born in London in 1800. He 

■~^^^^ . — 

* Men and Women of the Time. 
(B.A.) I 2 



132 HURLSTONE. 

entered the Boyal Academy Schools in 1820, and obtained the gold 
medal in 1823 for his *' Archangel Michael and Satan contending 
for the body of Moses." He also stadied nnder Beeohey, Lawrence, 
and Baydon. He exhibited 37 works at the Boyal Academy and 
19 at the British Institution, but the majority of his pictures 
appeared at the SnfEolk Street Galleries of the Society of British 
Artists. He was elected a member of that body in 1831, and held 
the office of President from 1835 until his death, sending 326 works 
to their exhibitions. The range of his subjects was much enlarged 
by visits to Italy in 1835, to Spain in 1842 and in 1851-52, and to 
Morocco in 1854. He gave evidence at the Parliamentary enquiry 
into the constitution of the Boyal Academy in 1835. Amongst 
his works are " The Enchantress Armida," and the " Peasant Girl 
of Sorrento,*' in the Bridgewater Gallery ; " The Prisoner of 
Chillon," in Lord Tankerville's collection ; ^' A Venetian Page,'* 
at Grosvenor House, in London ; and " Eros," in the Marquis of 
Lansdowne's collection at Bowood ; *^ The Game of Mora," 
*' BoabdU mourning the fall of Granada," " Columbus asking 
Arms," " Constance and Arthur," " Monks at the Convent of ^t. 
Isidore," '* Card-players in a Posada in Andalusia," and "Haidee 
aroused from her trance." Hurlstone died in 1869. 

No. 1967. A Scene from Gil Bias. 

"When dinner was ready, we returned into the canon's chamber, where, 
while I set the cloth on a table set just by his elbow-chair, the housekeeper 
tucked a napki];i under the old man's chin, and tied it over his shoulders. 
In a moment after, I brought in a plate of soup that might have been presented 
to the most celebrated director of Madrid, and two entries which would have 
stimulated the sensuality of a viceroy, had not Dame Jacintha been sparing of 
her spices for fear of inflaming the gout of the licentiate. At the sight of these 
delicate dishes, my old master, whom I believed impotent in all his members, 
showed me that he had not as yet lost entirely the use of his arms : he 
helped to disencumber himself of his pillows, and cheerfully prepared himself 
for eating. Though his hand shook, it did not refuse its service, but went and 
came with great expedition ; in such a manner, however, that it spilt upon 
the tablecloth and napkin one half of that which was intended for his mouth 
I took away the soup when he had done with it, and brought in a roasted 
partridge, flanked with two quails, which Dame Jacintha carved for him. She 
took care also to make him drink frequently large draughts of wine, a little 
diluted, in a large and deep silver cup, which she held to his mouth as if he had 
been a child of fifteen months. He eat greedily of the entrees and did no less 
honour to the birds. When he had well dined, the devotee untied his napkin, 
replaced his pillows and cushions, and left him quiet to take his afternoon 
nap in his chair." 

The canon Sedilio has well dined and prepares to take his after- 
noon nap ; to the left stands his housekeeper, Dame Jacintha, 
with her keys at her girdle, a mantilla over her head, a pomegranate 



HURLSTONE— INOHBOLri. 133 

flower in her hair, and a rich Spanish fan in her hand ; beside her, 
Inesilla, her niece, is abont to remove a plate, upon which is a 
knife and a piece of pomegranate peel, from the table ; to the 
right is a large and deep silver cup and a dish of grapes and 
pomegranates. Behind his patron's chair Gil Bias fingers a book 
from the library which became his valueless legacy after the 
licentiate had suffered the attentions of Dr. Sangrado. 

On canvas, 3 ft. 8 in. h, by 4 ft. 7 in. fo. 

Parohased, in London, from Mr. G-. H. Shepherd ont of the Lewis 
Fund in 1905. 



ZMOBBO&D (John William). 
B. 1830. D. 1888. 

John William Inchbold, a landscape painter of some note, 
was bom on the 29th of April, 1830, at Leeds, where his 
father, Thomas Inchbold, conducted a local newspaper. Young 
Inchbold was sent at an early age to London, where he re- 
oeived his first training as a draughtsman in the establishment 
of Messrs. Day & Haghe, the lithographers, and afterwards 
studied water-colour painting under Louis Haghe. The moorland 
scenery of Devonshire seems to have especially attracted him, 
and his first pictures sent to the Suffolk Street Gallery were 
▼lews of "Sheep's Tor'' and the "Dewar Stone" on Dartmoor. 
The minute and laboured character of Inchbold's work at this time 
was due to Pre-Baphaelite principles which he shared in common 
with other young painters of the day. While under this influence 
he exhibited at the Boyal Academy a little work, entitled " The 
Moorland," which was noticed with much praise by Buskin. 
With increased experience Inchbold adopted a freer and less 
laboured style of painting, and he became particularly successful 
in the treatment of atmospheric effect. During his career he 
acquired the art of etching and executed several plates, some of 
which were published. He was also known as a writer, and in 1877 
brought out a volume of poems, entitled " Annus Amoris." 

In late years his health became impaired, and while on a visit to 
his sister at Headingley, near Leeds, he was attacked by heart disease, 
whioh terminated his life on the 23rd of January, 1888. 



1^ JQHNr-JOHNSOS[, 

No. 1477a The Moorland. {Dewar SiofiA, DartmoarJ^ 

On the left of the scene a large roc)^ overgrown with moa^ ^^ 
liohen, lies on a slope of moorland which rises from ^ deep ravine 
01) the right. In the middle distance a stream winds it^ way 
between hills. Beyond lies undulating country. Long lines o{ 
purple cloud stretch across the horizon, oehind whicj(i the sun If^^ 
just set. 

On canvas, 1 ft. If in. h, by 1 ft. 8^ in. w. 
Bequeathed by Sir J. Bussell Eeync^ds in 1896. 



JOBN (William Goscombe), A.&.A. 

No. 175S. Boy at Play. 

A boy, balancing himself on his left foot, reaches forward with 
his right to touch a knuckle-bone standing on end in front of him ; 
he must recover his position behind the line which he toes without 
putting his extended foot to the ground. Inscribed, W. Gosoombb 
John. 

Bronze, 4 ft. 6 in. h., including the 2^ in. of the '' Verdi di Prato ** 
marble litase, which is 8 ft. 71 in. I, by 1 ft. 4 in. %o. 

Exhibited at the Boyal Academy in 1896. 

Qiantr«y Purchase, 1896. 



JOSNSOaV (Chablss Edwabs). 
No. 1606* The Swineherd : Ghcrth, Son of Beowulph. 

** In the pleasant district of Merry England which is watered by the Bivei 
Don, there extended in ancient times a large forest, covering the greater part of 
the Deantifnl hills and valleys which lie hetween Sheffield and the pleasant 
town of Doncaster. The remains of this extensive wood are still to be seen at 
the noble seats of Wentworth, of Wharncliffe Park, and around Botfaerhaih. 
Here hannted of yore the fabulous Dragon of Wantley ; here were fought 
many of the most desperate battles during the CivU Wars or the Buses; and 
here also flourished in ancient times those bands of gallant outiawa whose deeds 
have beenrendered so i>opular in English song."— ^r Walter Scott : Ivanhoe. 

The swineherd, Cl-urth, the son of Beowulph, rests beneath an oak 
tree in Sherwood Forest, the herd of swine about Mm. A f^eii 
silver birch lies in the foreground. Signed, C. E. Johnson, 1879. 

On canyas, 4 ft. 7i in. h, by 6 ft. Ill in. to. 

Bb^bited at the Boyal Academy in 1879, 

Ohantrey Puxohase, 1879. 



JOSEPH. 135 

JOSBPB (Samuel), a.S.A. 

D. 1850. 

Samuel Joeepli was a pupil of Peter Bonw and a stadont of the 
Boyal Academy, where, in 1815, he obtained a gold medal for a 
group of " Eye supplicating Forgiyeness." He worked in London 
as a sculptor of busts and medallion portraits, and began to exhibit 
at the Boyal Academy in 1811, when he sent two busts, one being 
of the son of his master Bouw. In 1823 he settled in Edinburgh 
for fiye years and obtained plenty of practice ; he was elected a 
Fellow of the Boyal Scottish Academy. At the National Gallery 
of Scotland, in Edinburgh, there are busts by him of Lord 
Brougham, Sir Dayid Wilkie, the Bey. Archibald Alison, and 
Henry Mackenzie. In 1826 he returned to London, and executed 
by command a bust of George lY. in 1830 ; his best known statue 
ie that ol William Wilberf orce in Westminster Abbey. Joseph 
exhibited at the Boyal Academy, for the last time, in 1846. He 
died in London in 1850.* 

No. 1764. Sir David WilMe, RJL. 

Heroic-size marble statue of the painter with a long cloak or 

Slaid thrown oyer his left shoulder, his right hand holds some 
rawing implements, his left rests upon a sketching album, the 
plinth is inscribed, S. Joseph. Sculp., 1843. 

The figure stands upon a white marble pedestal inscribed — 
Sib David Wilkie, B.A., D.C.L. 

BORN NOVBMBEB XVIII., MDGCLXXXV. 
DIED JUNE I., MDCCGXLI. 



A JAfe too ihort for FriendahiPt not for Fame. 



On the right of the pedestal is one of the f ayourite palettes of 
Sir David WUkie. 

The height of the statue and plinth is 7 ft., the height of the 
pedestal S ft. 8 in. 

Present^ by a body of Subscribers in 1844. 

* Dictionary of National Biography. 



13(5 KEMP-WELCH— KERR. 



(LncT Elizabeth). 

No. 1649. Colt Hunting in the New Forest 

Six men on horseback are driving a herd of wUd ponies down a 
glade. The scenery of the New Forest forms the background. 

On canvas, 4 ft. Hi in. A. by 9 ft. llf in. w. 
Exhibited at the Royal Academy in 1897. 
Chantrey Purchase, 1897. 



BiSVNZNCI'TOH (Thomas Benjamin). 

No. 1560. Ch'phans. 

Two children in black rags sit in a shabby room. The elder, a |^rl 
supports her little brother's head upon her knee ; before them iB a 
broken plate with a crnst of bread on it. Signed, T. B. KENNING- 
TON '85. 

On canvas, 3 ft. 8^ in. h, by 2 ft. 6f in. to. 

Exhibited at the Institute of Painters in Oil Colours in 1886, and at 
Saint Jude's School, Whitechapel, in 1887. 

Tate Gift, 1894. 



(Charles Henry Malcolm). 

B. 1858. D. 1907. 

Charles, son of B. M. Kerr, J.P., D.L., LL.D., Judge of the 
City of London Court, was born in London, January 22, 1858. He 
was educated at Rugby and Corpus Christi College, Oxford. He 
studied painting at the Royal Academy Schools and at Julian's in 
Paris ; and exhibited continuously at the Academy from 1884 
onwards. His work was chiefly portraits, with occasional land- 
scapes and subject pieces, e.g., "The Outlaw's Grave," "When 
other Helpers fail," " Sanctuary." His portrait of Commissioner 
Kerr is in the Corporation G-allery of the G-uildhall. He produced 
also a good deal of black and white work. He was at one time a 
member of the British Artists', but resigned. He died December 
17, 1907 



KING— KNIGHT. 137 

No. 2215« Portrait of the Artist. 

Life-size, three-quarter length. The paiater, ia brown salt, 
right hand in coat pocket, left holding palette and brashes, faces 
the spectator, standing sideways to right. The portrait was 
exhibited at the Academy in 1899, under the title, *' Myself." 

On canyas, 4 ft. 5 in. h. by 2 ft. 11^ in. to. 

Presented by the Widow of the Ardst, 1908. 



(Teend). 

No. 1673- Milking Time. 

Across a rnstio bridge, carried on stone piers over a stream 
which occupies the foreground of the picture on the left, is seen 
the meadow-land of an open undulating country, in which a man 
is driving a herd of cows towards the bridge. In the immediate 
foreground stands a country girl, who is waiting with a milking- 
p«il and stool for the cows. The cart-shed and buildings of a 
null occupy the right of the picture, and nearer to the foreground 
is an old pear tree, under which is a group of ducks. Among the 
trees in the middle distance are seen the gable and chimney of a 
farmhouse. Signed, Ybend Kino. 

On canvas, 3 ft. 11^ in. A. by 5 ft. 11^ in. to. 
Etched by Willie Heydemann. 
Exhibited at the Royal Academy in 1898. 
Chantrey Purchase, 1898. 



(Charles Parsons). 

B. 1829. D. 1897. 

Ghailes Parsons Elnight was the fifth son of the Bev. Canon 
Knight, Bector of Baint Michael's, Bristol, and was bom in that 
city on February 15th, 1829. He was educated by his father, a 
man of much taste and scholarship, and a fiiend of the artists 
and literary men of Bristol. 

As a boy Charles Knight loved and drew the shipping of the old 
Fort of Bristol ; he entered Messrs. Green's service as a midshipman 



188 KNIGHT. 

bnt after one voyage to Calcutta and back he gave up the {irftfewion ; 
this experience strengthened his love of the sea as a subject for ar^ ; 
he pursued his studies under no regular master, but drew and painted 
in the life school of the Bristol Academy. He first exhibited ip 
London, at the Suffolk Street Galleries, in 1853, a picture called 
'* The Mumbles Head, Glamorganshire." His first contribution tp 
the Boyal Academy was "Durham from the North," in 1857. 
This was succeeded by " A Bit of Biverside," in 1868. " The Stone 
Walls of Old England— Speeton Cliffs, Yorkshire," in 1861, was one 
of hisl>e8t works. Altogether he exhibited some 110 pictures in 
London, mostly views of the coast, noted for the drawing of waves, 
rigging, and hulls* of ships, and for the study of cloud and light 
effects. He died on the 22nd of January, 1897, in bis sixty-eighth 
year.* 

No. 1655. The Kyles of Bute. 

On the calm waters of a narrow sea-loch a cutter-yacht is sailing 
under a rocky and mountainous coast. The setting sun cf^tches on 
the sails of the yacht and illumines the mountams and brigh^ 
clouds behind. Signed, 1893. 

On canvas, S ft. i in. k. by S ft. 7^ in. to. 

Presented by Miss A. F. G. Knight, in 1898. 



HLKiam (Joseph). 
No. 1622. A Tidal River. 

On the sedgy ground by a broad river are three men who have 
landed from a punt which lies in a backwater in the foreground. 
On the further side of the river stretches a wide expanse of flat 
pasture-land dotted with sheep, and bounded in the distance by 
low hills and trees. The grey sky and subdued light give the 
impression of a quiet evening. Signed, J. Knight, 1877. 

On canvas, 2 ft. 9J m. h. by 4 ft. IJ in. to. 

Exhibited at the Royal Academy in 1877. 

Ohantrey Purchase, 1877. 



Mf.KxiighVBpictare8, held at the Bristol Aoademy, in 1897. 



KNIGHT. 139 

(John PKBacoTT), R.A. 

B. 1803. Q. 1881. 

John Frescott Knight was bom at Stafford in 1803. He was 
the son of Edmund Knight, the comedian, who placed him as 
clerk with a West Indian merchant ; owing to his master^s f aUure, 
he was left without occupation, and so he amused himself for some 
time in copying designs by Sir Benjamin West, F.B.A. In this 
he succeeded so well that his father allowed him to become a pupil 
of Sass and of Gborge Glint, and, in 1823, a student of the Eoy^ 
Academy Schools. His first picture was sent to the Boyal Acadexoy 
in 1824, and was followed by portraits of Alfred Bunp, Mias 
Chester, Mrs. Terry, Sir Walter Scott, Mr. Glover, and his father 
ESdward Knight, the comedian. The artist exhibited at the British 
Institution, in 1828, a picture called *^List, ye Landsmen all, to 
me I " and afterwards " The Whist Party," " Auld Bobin Gray," 
and " The Smugglers Alarmed," but his principal work was por- 
trait-painting. He was elected an Associate of the Boyal Academy 
in 1836 and a Boyal Academician in 1844. He was also Professor 
of Perspective at that institution, and, from 1848 to 1873, Secre- 
tary. His best known work is " The Waterloo Banquet," in the 
possession of the Duke of Wellington. He died, in London, 
in 1881.» 

No. 1498> Sacking a Church in the Time of John Knox. 

** John £nox oDdeavonrine to restrain the violence of the people, who, ezoited 
by his eloquence i^painst the Chnrch of Bom^, destroyed the altar, missals, 
imaffes of saints, ftc., at Perth, 1559. 

"Die day after the memorable meeting at Stirling, Knoz preached in Perth, 
with his usual vehemence, against the mass, idolatrous worship and adoration 
of saints and images, when a priest, proceeding to celebrate mass, and anxious 
to counteract the effect of the discourse, drew the attention of the bvstanders 
to the altar. This excited some expressions of ridicule from a boy, for which 
the priest imprudently struck him. The boy retaliated by throwing a stone, and 
damaged the picture above the altar, which aroused the iconoclastic fury of 
the people, wno had taken part with the boy, and they destroyed the pictures, 
images, missals, and all the symbols of the Komish worship. Their zeal was so 
furious that Knox, although assisted by the civil authorities, in vain exerted 
^^mFK*U to stop the ravages of what he termed the rcucal multitude." 

Signed, J. P. Knight, B.A., 1843. 
On oanvas, 4 ft. 9^ in. h, by 6 ft. 5 in. w. 
Exhibited at the Royal Academy in 1843. 
Presented by Colonel Knight Preaoott, 1896. 

* Bryan's Dictionary of Faiaters and Bngraven and the Boyal Aoademy 
Bzhimtion Oatalognes. 



140 LANCASTER— LANCE. 



(B. Hume). 
D.'1850. 

B. Home Lancaster was a painter of marine subjects and coast 
scenery. The date of his birth seems to be unrecorded. He was a 
member of the Society of British Artists, and a frequent exhibitor 
at the Boyal Academy from 1836 to 1849. He died at Erith, in 
Kent, in 1850. 

No. 1428. A View at Southampton. 

Taken from the shore and looking towards the harbour. A 
portion of the old quay, on which roughly-hewn stones lie ready 
tor masonry, forms the foreground of the picture. Beyond, to 
the right, is a group of bmldings, among which the ancient 
McUson DieUf or God's House, a castellated structure with deeply- 
splayed windows, and the apparently still older "South G-ate," 
are conspicuous. Li the distance, towards the left, boats are 
moored and numerous vessels lie at anchor. Above, a summer sky 
across which clouds are drifting. 

On canvas, 2 ft. 10^ in. h, by 4 ft. 6^ in. to. 

Signed, 



T^i^^tccU /or- /8/, 



7 



Purohaaed out of the interest of the Lewis Fund from Messrs. P. 
and D. Golnaghi in 1894. 



IiiLNCE (GEORaE). 
B. 1802. D. 1864. 

George Lance, a painter of fruit, flower, and stUl-lif e pieces, was 
bom in 1802 at Little Easton, near Dunmow, ia Essex, and acquired 
the practice of his art in the studio of Haydon, the historical painter. 
Lance's pictures became well known through the exhibitions of 
the British Listitution and the Boyal Academy. 

His first picture, exhibited at the Academy in 1828, was illus- 
trated and described by a couple of lines from '* Hudibras " : — 

** Qoose, rabbit, pheasant, pigeons, all 
With good brown Jug for beer—not small." 



LANCE. 141 

Though a fruit and flower painter chiefly, Lanoe varied his 
subjects, and he generally gave his pictures quaint titles, but little 
descriptive of them in their absence : as *' The Brothers," 1837 ; 
"May I have this?" 1840 ; "The BaUad," 1841 ; "The Micro- 
scope," 1842 ; " Preparations for a Banquet," 1846 ; and " Bed 
Cap," in this Collection. He contributed thirty-eight works to 
the Academy exhibitions from 1828 to 1862. Some few were of a 
more ambitious character than usual, as " Captain Rolando show- 
ing to Gil Bias the Treasures of the Cave," 1839 ; " The Tillage 
Coquette," 1843 ; and " The Marshal Due de Biron, &c.," 1845, 
his principal figure piece. 

He died June 18th, 1864, at Sunnyside, near Birkenhead, the 
residence of his son, whither he had gone for the benefit of his 
declining health.^ 

No. 441. A Basket of Fruity PiyxeappUy and Bird's 

Nest. 

On wood, 1 ft. 6^ in. h. by 1 ft. 8J in. to. 
Exhibited at the British Institation in 1834. 
Yemon Collection. 

No. 442. Bed Gap. 

Through an arched opening a monkey with a red cap on his 
head is seen grouped with a basket of vegetables, a large cabbage, 
and a wild duck. 

On wood, 1 ft. 5 in. A. by 1 ft. 7 in. w. 
Engraved by W. Taylor. 
Exhibited at the British Institation in 1847. 
Vernon Collection, 1847. 

No. 443- Fruit-piece. 

A large composition of fruit of various kind, in which a melon, 
a pineapple, and some bunches of green and purple grapes are 
conspicuous features. 

On canvas, 2 ft. 4 in. h, by 3 ft. to. 
Engraved by C. H. Jeens. 
Exhibited at the British Institation in 1848. 
Vernon Collection, 1847. 



* A biographical sketch of Lance, written Irom wn-t^^rift^ supplied by himself 
liae published in the Art Journal in 1857. 



142 LANCE— LANDSBER, 

^o. 11&4. A Fruit-piece. 

Some grapes, peaches, nectarines, filberts and other fruii are 
groaped on matting on a kitchen table. 
On canvas, 1 ft. 1) in. K by 1 ft. 5^ in. w. 
Bequeathed by Mrs. Elizabeth Vaughan in 1886. 



IbAJf HSl^Bm (Sib Bdwim HskBT), m.A. 

B. 1802. D. 1873. 

Edwin Henry Landseer was the third s(m of John Landseer 
the engraver, and was bom at 83 Qneen Anne Street East, now 
33 Foley Street, London, on the 7th of March 1802. fie was 
educated in art liy his father, before he became a student of the 
Royal Academy, and he received also some instruction from 
Haydon, the historical painter. Edwin Landseer displayed his 
great ability while still very young, having obtained a medal from 
the Society of Arts at the early age of 13, for a drawing of a 
large Alpine mastifE, of which there is an etching by his brother 
Thomas. But he first ^attracted general notice by pictures 
exhibited at the Gallery of the Society of Artists, in Spring 
Gardens. His name appears in the Boya) Academy Catalogues 
for the first time in 1815, in his 16th year, when he exhibited the 
" Portrait of a Dog." In 1820 he sent to the British Listitution 
his large picture of ** Alpine Mastiffs reanimating a Distressed 
TraveUer " ; and in 1822 he obtained from the same institution 
the premium of £150, for his picture of " The Larder invaded." 
These works attracted great notice, and established for the 
painter an unrivalled reputation in his own department of art ; 
this was more than maintained by the long series of pictures 
which followed them, on the walls of the Royal Academy, and at 
the British Listitution. Besides his pictures of animals, he painted 
several portraits. Li 1826 he exhibited at the Royal Academy 
«( The Hunting of Chevy Chase," and was in that year made an 
Associate of the Academy. Li 1829 appeared the ** Illicit Whisky 
Still in the Highlands." He was elected an Academician in the 
following year. In 1850 he received the honour of knighthood 
from Queen Yict<ma. From 1815 to 1873 inclusive. Sir Eidwin 
exhibited at the Academy 179 pictures, in 51 years, 



LANDSEEB. 143 

failed to oontribnte on seven oocasions only daring that long in- 
terval of 57 years. He was likewise a frequent exhibitor at the 
British Institntion, but often exhibited there works already 
shown at the Boyal Academy. Besides those above liamed, the 
following are some of Sir Edwin Landseer's more celebrated 
works : 

Exhibited at the Boyal Academy — Hawking, in 1832 ; A iack 
in Office, 1833 ; Bolton Abbey, 1834 : The Old Shepherd's Chief 
Monmer, 1837 ; There's life in the Old Dog yet, 1838 ; Van Am- 
burg and his Animals, 1839 ; Laying \Down the Law, 1840 ; Otter 
and Sahnon, 1842 ; The Otter Speared^ and Shoeing, in 1844 ; 
The Shepherd's Prayer, 1845 ; Time of Peace, and Time of War, 
and Stag at Bay, in 1846 ; " Sketch of my Father," and Alexander 
and Bidgenes, 1848 ; A Dialogue at Wftterioo, 1850 ; Titahia 
and B6tlom, 1851 ; Night, and Morning, 1853 ; XJnoU Tom and 
his Wife for Sale, 1857 ; The Maid and the Magpie, 1858 ; The 
Bhrew Tamed, 1861 ; The Connoisseurs (containing his own 
portrait, engraved by S. Cousins, BA.), 1865 ; fier Maj^ty 
at Osborne, 1867 ; and the Swanery Invaded by Sea Eagles, 1869. 

At the British Institution— The Cat's Paw, 1824 ; highland 
Music, 1830; Low-Life, High-Life, 1831 ; The Sleeping Bloodhound, 
1835 ; and Di^ty and Impudence, 1839. 

Many of the above works have been engraved by his brother, 
Thomas Landseer, A.B.A., by S. Cousins, B.A., aad others. 
The engravings already made after his works ekoeed in 
numbed 300 ; and he himself etched several of his owh com- 
positions. Sir Edwin was awarded the large gold medal at the 
Paris Universal Exhibition of 1855, and the medal for Fine Arts 
at the Vienna Exhibition of 1873. He died at his house in St. 
John's Wood, on the 1st of October, 1873, and received the honour 
of a public funeral in St. Paul's Cathedral. 

No. 410. Low Life— High Life. 

In these companion pictures, two dogs, a bulldog aud a stag- 
hound, are contrasted. To each are given accessories characteristic 
of th^ respective cla^s. 

On wood, 18 in. A, by 13J in. mj. each picture. 
Engraved by B. Lane, A.E.A. ; and by H. S. Beckwith, 
Exhibited at the Britiflh Institution in 1831. 
Vernon Collection, 1847. 



144 LANDSEEa 

No. 411. Highland Music. 

An old Highland piper appears to have intermpied the fragal 
meal of a group of five hungry dogs by a sudden blast of his 
*'baffpipes." The variety of effect of the "Highland music" on 
the different dogs is very striking. 

On wood, 1 ft. 6^ in. A. by 1 ft. 11| in. w. 
Engraved by H. S. Beokwith. 
Exhibited at the British Institution in 1830. 
Vernon Collection, 1847. 

No. 412. The Hunted Stag. 

A stag who has crossed a lake is being worried by two hounds, 
who are carried with him by the rush of the waters down a rocky 
torrent. Inevitable death is forcibly pictured in the head of the 
stag. 

On wood, 2ft. 81 in. h. by 2 ft. l\\ in. w. 
Engraved by Thomas Landseer ; and by J. Gousen* 
Exhibited at the Royal AcadeDiy in 1833. 
Yemon Oolleotion, 1847. 

No. 413. Peace. 

The picture represents a peaceful scene on the English coast 
with Dover harbour in the distance ; goats and sheep are 
browsing in the son on the cliffs, and a lamb lies with its head 
restinff in the muzzle of a dismounted gun ; the cheerful faces of 
three bare-headed children complete the sense of peace and security 
conveyed by the whole scene. 

On canvas, 2 ft. 10 in. A. by 4 ft 4 in. to. 

Engp»ved by T. L. Atkinson ; and by J. Oousen and L. Stocks, ABA.« 

Exhibited at the Royal Academy in 1846. 

Vernon Collection, 1847. 

No. 414. War. 

A dying and a dead war-horse, with their fallen riders lying, 
amidst the burning ruins of a cottage, present a dramatic picture 
of the horrors of war. 

On canvas, 2 ft. 10 in. h. by 4 ft. 4 in. w. 

Engraved by T. L. Atkinson ; and by L. Stocks, A.R.A. 

Exhibited at the Royal Academy in 1846. 

Vernon CSollection, 1847. 



LANDSEER. 146 

No. S07a Highland Dogs. 

A group of five dogs ; sketch for a Tignette. 

On copper, 16( in. h, bj 21 in. to* 

Engpnyed as the frontispiece of Mr. Sorope*s work on deer-stalklaff, 
in 1839. 

Bequeathed by Mr. Jacob Bell in 1859. 

No. 608> Alexander and Diogenes. 

A gronp of dogs, illastrating the story told by Plutarcb* 
who relates that Alexander visited him when in his tub, 
and said to him, "I am Alexander the Great"; ^And I 
am Dioffenes the Cynic," replied the philosopher. "What 
can I do for you?" said the king. "Stand out of the 
sunshine," said the cynic. Alexander, struck witii the remark, 
to reprove those of his courtiers who were ridiculing the uncouth 
rudeness of the Greek philosopher, said, " If I were not Alexander 
I would wish to be Diogenes. 

On canvas, 3 ft. 7^ In. A. by 4 ft. 8 in. to. 

Engraved by Thomas Landseer. 

Bxhibited at the Royal Academy in 1848. 

Bequeathed by Mr. Jacob Bell in 1859. 

No. 609. ^^ The Maid and the Magpie.^ 

This is from the popular tale so called. A pretty milkmaid 
has seated herself in a shed by a cow to milk it, but 
appears to be more intent upon what a ^oung man behind her 
is saying to her than her ostensible busmess, and she does not 
observe that the magpie has seized and is about to carry oH! a 
silver spoon placed in one of two wooden shoes by her side ; thus 
accomplishing the innocent theft that caused her so much misery. 

On canvas, 5 ft. ^ in. h, by 4 ft. Hi in. w. 
Engraved by Samnel Cousins, R.A. 
SxMbited at the Royal Academy in 1858. 
Bequeathed by Mr. Jacob Bell in 1859. 

No. 1226. " A Distinguished Member of the Humane 
Societyy 

The picture bearing this title is the life-size portrait of a largp 
Newfoundland dog, seated at the end of a stone jetty with its 
f oriBpaws overhanging the water. 

(BA.) K 



146 LANDSEER. 

This dog, named " Paul Pry," was bred by Mr. Philip Bacon, 
^ho gave it when a puppy to his cousin, Mrs. Newman Smith. 
Sir Edwin (then Mr.) L^ndseer noticed the dog carrying a 
basket of flowers, and struck with the beauty of the animal, adsed 
permission to paint it. 

On canvas, S ft. 64 in. h, by 4 ft. 7 in. w. 

Engraved by Thomas Landseer, and, on a small scale, by 0. G. Lewie, 
A.I80 etched by F. P. Becker. The head was engraved by H. T. Bya), 
as a separate plate, under the title of ** My Dog." 

Exhibited at the Royal Academy, 1838. 

Exhibited at Leeds in 1868. 

Bequeathed by Mr. Newman Smith, 1887. 

•^ No. 1532* A Scene at Ahbotaford, 

Two dogs in a baronial hall are resting upon the hide of a fine 
stag. The old black and white dog, with hanging tongue and blood- 
shot eye, belonged to Sir Walter Scott, and was called '* Maida," the 
other was a deerhound of the artist's. On a red cushion to the 
left is a casque. 

Painted in the year 1829. Presented by the Duke of Bedford to the 
Right Hon. W. P. Adam, M.P. 

On panel, 1 ft. 5^ in. h, by 1 ft. 11^ in. w, » 

Engraved for '* The Keepsake," 1829. 

Tate Gift, 1894. 

No. 1533- UncU Tom and his Wife for Sale. 

Two pugs, chained together and to a green door, are offered for 
sale upon a doorstep ; a brick wall forms the background. 

On canvas, 2 ft. 3f in. h, by 2 ft. 11^ in. w. 

Engraved by Thomas Landseer and by Charles Mottram. 

Exhibited at the Royal Academy in 1857, and lent by J. 0. Harter, 
Esq., to the Royal Jubilee Exhibition held at Manchester in 1887. 

Tate Gift, 1894. 



> No. 1787. A Donkey and Foal. 

A boy tries to ride a hobbled donkey, her foal stands at her 
head surprised at this behaviour, and a broken-haired terrier barks 



LANDSEER, 147 

at her heels ; the kndsoape is like Hampstead Heath. Signed, 
1822, E. L. 

On panel 9| in. A. by 1 ft. H in. w. 

Exhibited at the National Exhibition of Works of Art, Leeds, in 
1868. 

Bequeathed by Mr. Henry Vanghan in 1900. 

John Landseer. 

The old engraver, with long white hair is looking at a large 
book which he holds in both his hands. 

On oanyas, 2 ft. 11^ in. h. by 2 ft. ^ in w. 

Lent by Mr. Edwin L. Mackenzie. 



SZa BDWZM BBN&T ZiANDSSBB and SZB 
JOHK BVB&BTT KZXi&AZS. 

No. 1S03- Eqvsstrian Portrait. 

A lady is riding on a white horse through an archway into a 
coartyard ; she is dressed in a green velvet nding habit, slashed and 
puffed in the fashion of the time of Charles U ; her tan gauntlets 
are lined with red, and there is a red feather in her wide grey hat, 
repeating the bright red of the saddle-cloth ; on her left stands a 
page in an old-gold velvet suit with light blue points and 
bows, and with a ribbon of the same round his black hat, which he 
holds in both his hands. 

Sir Edwin Landseer painted the horse and its accoutrements, 
intending it for an equestrian portrait of Queen Victoria, but 
this was never carried out, and ultimately the picture was sent 
to Sir John Millais, who painted his daughter in this old riding- 
costume, together with the page, the dog, and the background, and 
called the picture ** Nell Gwynne." It is also sometimes known as 
* Diana Vernon." 

For signature it has the letters E. L. and the monogram of Sir 
John Everett Millais, with the date, 1882, when it was completed. 

On canvas, 10 ft. 6^ in. A. by 7 ft. 7 in. lo. 

Presented by an Anonymous Donor, 1897. 

See No. 1788, under Lbb (F. R.). 



(B.A.) K 2 



148 LANE— LANTlfeRI— LA THANGUB. 



(Thbodobe). 
B. 1800. D. 1828. 

Theodore Lane, a subject painter, was born at Isleworth in 1800. 
He originally studied engraving, which he early quitted for portrait 
painting, exhibiting at the Boyal Academy from 1816. His forte, 
however, was in humorous subjects, and he was attaining some 
position when his death occurred in 1828 through falling through 
a skylight in Gray's Lin Boad, London. His best woito are: 
" The Christmas Present," exhibited at the Boyal Academy in 
1827 ; " The Gouty Angler," exhibited in 1828 ; and « Disturbed 
by the Nightmare," exhibited in the same year. 

No. 440. The Gouty Angles. 

An enthusiast, kept from the river banks by an attack of gout, 
» angling at home in a tub. Around him is strown his fiSdng 
tackle, and on a table at his right hand, a bottle of medicine. 

On wood, 1 ft. 4 in. h. by 1 ft. 10 in. w. 
Exhibited at the Boyal Academy in 1828. 
Vernon CoUeotlon. 



XUj^NT^StX (Edouaed). 

No. 190S. Paysan. 

A bust in bronze of an old French peasant. The h^ad is 
stooping and is turned to the left. 

Bromse, 1 ft. 9 in. A. 

Presented by the Pupils of Professor Lant^ri, 1902. 



(Henbt Herbert), A.ft-A. 

No. 1605- The Man with the Scythe. 

A mower with a white smock thrown over his shoulder, as he 
passes the gate of a cottage garden glances towards a side child 
who has fallen back against a white pillow in an arm-chair, placed 
in the open air in front of the cottage. The mother in a 



LA THANGUE— LAWSON. 149 

j^ap ffown, and holding something in her apron, grasps the arm of 
tn6 dildr and looks anxiously at ner child. Bigned, 

H. B. La THjuirons. 

OnimnVM, 5fb. 6ia. k. by 5ft. 4§in. to. 
fixMbited at t&e Boyal Academy in 1896. 
Chantrey Purchase, 1896. 



3bAWSOar (Cecil Gordon). 
B. 1851. D. 1S82. 

pec^ Gordon fiawson, Hhe yonngest son of William Lawson, of 
iQ&ibnrgh, a portrait painter, was horn near Wellington, in 
Shropshire, on the 3rd of December 1851 . His childhood and youth 
were spent in London. Having shown an early taste for art, he 
studied its tedhmctdities under his father's guidance, and while still 
a boy devoted himself to landscape painting. Li 1870 he exhibited 
his first picture at the Boyal Academy, viz., a view in " Gheyne Walk, 
Ghelsea," which was followed by the " Biver in Bain " and " A 
Summer Evening," in 1871 ; " A Lament,** in iS72 ; and " A 
Pastoral in the Yale of Mief od, N. Wales,** in 1873. In 1876 his 
'^ Hop Gardens of iBngland,** also contributed to the Boyal 
Academy, tet^aated. considerable notice, and till his death his 
name apjTears yeariy in Hhe Boyal Academy catalogue. 

titeanwhile ilie drosvenor Gallery had been opened, and at its 
second exhibition oi£ works by living artists, (1878), appeared, in 
addition to two smaller pictures, a large and impressive landscape 
by Oecil Lawson, entitled " In the Minister's Garden,** which the 
painter described as a tribute to the memory of Oliver Goldsmith. 
The materials for this composition were derived from studies made 
on a little hillside in the neighbourhood of Sandhurst. From this 
period up to the date of his early death he contributed frequently to 
the Grosvenor Gallery, viz., " A Morning Mist,** " The Morning 
after'* (sunrise after a storm), with five other pictures, in 
1679 ; " The Aiigust Moon ** (described below) and " The Voice 
e€ the Oackoo** (a landscape with figures on a large scale), in 1880 ; 
<<Tbe Yalley of Desolation,** a view at '* Wharf edale, York- 
shire,** and " The Wet Moon, Old Battersea,** in 1881 ; « The 



150 LAWSON— LEE 

Btorm-clond, West Lynn, X. Devon," in 1882. Lawson married, 
in 1879, Constance, daughter of J. Bimie Philip, the sculptor, 
and after his marriage lived for some time at Haslemere in 
Surrey. A few years later his health began to decline, and 
under medical advice he went to the south of France for awhile, 
but unfortunately returned no stronger. He died in London on 
the 10th of June 1882, aged thirty-one. 

No. 1142L The Ai^iiat Moon. 

The picture represents an extensive view in the outskirts of a 
forest, overlooking a marshy valley or meadows which appear to 
have been recently flooded, with wooded hills in the distance. A 
full moon has just risen from the horizon. Bcotch fir trees and 
felled timber occupy the foreground. This picture was painted at 
Blackdown, in the neighbourhood of Haslemere, Surrey. 

On canvas, 6 ft. 5| in. h, by 9 ft. 11 in. to. 

Presented by Mrs. Cecil G. Lawson, in fulfilment of her husband's 
wish, in 1883. 



(Benjamin Williams), &.A. 

No. 154sO. The Valley of the Llugwy. 

The river flows towards the foreground from misty hills ; a 
group of silver-birch trees and rocks to our right break the light 
of the sun, and cast a shade where a girl and boy sit with their 
dog looking after the sheep. Signed, B. W. LEADER 1883. 

On canvas, 3 ft. 11 in. h, by 6 ft. 7 in. to. 
Tate Gift, 1894. 



(Fbedebick Richard), R.Jl. 

B. 1799. D. 1879. 

Frederick Richard Lee was bom at Barnstaple in Devonshire 
in 1799. He entered the army at a very youthful age, and 
served during one campaign in the Netherlands, but in con- 
sequence of delicate health he subsequently left the service and 
adopted art as a profession. He became a student of the Royal 



LEE. 151 

Academy in 1818, and sent some of his earliest works to the 
British Institntion. The first picture which he exhibited at the 
Royal Academy was in 1824, and b described in the catalogae 
for that year as " A Cottage from Natore." After an interval 
of three years he again became an exhibitor, and for some time 
regularly contributed landscapes or studies of game to the 
Boyal Academy, of which he was elected an Associate in 1834, 
and fuU member in 1838.' Later in life Lee became associated 
with Sidney Cooper, the well known cattle - painter, in the 
production of joint works, of which the first examples, *' A Summer 
Morning " and a *^ View above the Slate Quarries on the River 
Ogweir, N. Wales," were exhibited at the Royal Academy in 1848. 
This artistic partnership extended over many years. Lee painted 
chiefly British landscape, but occasionally foreign subjects, for 
instance the '<Bay of Biscay," 1857, "The Signal Station, 
Gibraltar," and "Gibraltar from the sand-banks," both exhi> 
bited in 1861. Some of his most notable works are (or were) 
in the collections of the Marquis of Breadalbane, the late Lord 
Lansdowne, Lord Spencer, and Sir T. Baring. The last picture 
which he exhibited, "The Land's End and Longships Light- 
house," was in 1872. He died at the Cape of Good Hope on 
the 4th of June, 1879. 

No. 620. A River Scene. 

A broad river, with cattle on the banks ; the whole scene is 
bathed in a yellow evening light The cattle are by T. S. Ooopeb, 
BJl. 

On canvas, 4 ft. 1| in. h, by 5 ft. 11^ in. to. 

Exhibited at the Boyal Academy in 1865. 

Bequeathed by Mr. Jacob Bell in 1859. 



(Frederick R.), lt.A. B. 1799. D. 1879, and 
(Sir Edwin), &.A. B. 1802. D. 1873. 

No. 1788a A Landscape tuith Figures. 

In the Highlands, a mountain on the right, a farm in the middle 
distance on the left, and a river in the foreground ; a huntsman 



152 LEK— LEGROS. 

leading a wbite Shetland pony with a dead stag alang on hia baok 
crosses the ford. The landsoape is by Lee and the figure and 
animals by Landseer. Signed, F. B. Lee, 1830. 

On oanvas, 1 It. 2f in. h, by 1 ft. 7 in. w. 

]^iifiathed by Mr. Henry Yaughan in 1900. 



(Alphonse). 

''No. ISOla Femmes en priere. 

Seven French peasant women in white head-dresses are kneeling 
before an altar in a dark church ; the youngest of them holds a 
lighted candle. They are dressed in sombre colours, blue, grey, 
and brown, with dark cloaks. Their hands are either j6inea m 
prayer, telling beads, or turning the leaves of a bo<^ of devotion, 
mgned, A. Legros, 1888. 

On canvas, 4 ft. 3 in. h, by 5 ft. 8 in. to. 

Painted at University College, London, wheie the artist was Slade 
Professor of Fine Arts, and exMbited at t^e first exhibition held at the 
New Gallery in Regent Street in 1888. 

Presented by a Body of Subscribers in 1897. 

No. 2117. Portrait of Mr, John Gray. 

Life size head in profile to left ; collar of shirt and coat just 
indicated, the rest of the grey-tinted canvas being left untouched. 
Mr. John Gray was the donor of a Museum and Art School to the 
town of Aberdeen. At the time this project was taking shape, 
October, 1883, Mr. Legros, at that time Slade Professor in London, 
was on a visit to his friend M. Camille des Olayes, and was induced 
to give a demonstration of painting in a public hall such as he was 
in the habit of giviug to bis pupils at the Slade School. This 
portrait-study was the result, and was painted in the space of an 
hour and a quarter. (See the "Aberdeen Free Press *' of Oct. 15. 
1883.) 

Signed, " A. Legros, 1883." 

On canvas, 2 ft. ^ in. A. by 1 ft. 6^ in. to. 

Presented by His Honour Judge Evans in 1907, 



LEIOHTON. 153 

^BZOHTOX (LOBP), P4t.A. 
B.fSai. to. 1896. 

Frederic Leiglitop was bom 09 ^ Srf} pi I)eoei|(bfl^, 1630, 
at 8c^|x>roi2|^, in Yorkshire ; his f a^he^, a |dijBickui, W48 « nuui 
of great oi4tlvaiio|i. His g^raadfatiher, Sir Ja^es Lejghtop, was 
Physician at ^he Court of Saint Petersburg. Frederic Leighton 
spent ixluc^ of his boyhood under the eye apd cfire of {lis father, 
who hiTHseif taught hiip ai^ton^y, Greek and {iatin. His faipily 
lived abroad on aocou^it of Mrs. Le|ghton's health ; so when quite 
young he visited Italy, Gennany and France, and became acquainted 
with the most eitninept men in the arts at Some, Frankfort and 
Paris. He fiade good i^se of his time and ojKpqrtuoities, and 
especially inade himself perfect in the laag^^es. He studied draw- 
iz;g at ten years <x£ n%Q under Signer MeU of Bome, but it was at 
Florence thai his future career was finally decided upon. He was 
then allowed \o studj at the j^jccademia delle Belle Arte, under 
]pez2noU and Seryolioi, and to attend the tjoiatoqiy chiisses at 
the Hosfital of Santa Maria Nuova, under Zaaet^ He 
further studied in Paris during the year 1849 ; copied Titian 
and GoxTQggio in the Louvre and drew diligently in the life 
school. At Frankfort ho painted his first oil-painting of " Giotto 
found hy Gjisabue among the ^eep," and from 1850, for 
more than two years, he worked under Steinle ; and, ^A he 
himself has said, " obeyed that master so diligently t|iat I am, 
in effect, his pupil in the fullest sense of the term." Under 
his influenoe he worked at Bome in 1853, where he made life-long 
friends of Qobert frowning and some of the jounger i^irits of 
the age, Giovanni Costa, Jsynes Knowles, George Mason, whose work 
in ]^3iglan^ he so much ^icouraged afterwards, and Edward 
Poynter, whom he allowed to work in his studio almost as a pupil, 
and who found the counsel he then received a source of encourage- 
ment and assistance all through life. It was at this time that 
Thackeray saw him, and wrote of him to the young Millais, saying, 
** Here is a versatile young dog, who will run you close for the 
Presidentship one of these days." During these years he painted 
<; Tybalt and Bomeo," ''The Death of Brunelleschi," a fine 
cartoon of the "Pest in Florence according to Boccacio," and 
*' The Becondliation of the Montagues and the Capulets," which 
was exhibited in Paris in 1855, and is now in America. 

This sfone year, 1855, the twenty-fifth of his age, Frederic 



154 LEIGHTON. 

Leighton brought from Borne, where he had painted it, and 
exhibited at une Boyai Academy in London his picture of 
'* Cimabue's Madonna Carried in Procession through the Streets 
of Florence." This work had the hononr of being the first 
subject picture, not previously commissioned, bought by Queen 
Victoria. In front of the picture and crowned with laurel, 
walks Oimabue himself, with his pupil Giotto behind it Amolf o di 
Lupo, Gaddo Gaddi, Andrea Tafi, Niccola Pisano, BufEalmaco and 
Bimone Memmi ; from a comer Dante watches the procession. 
The principal works executed during Leighton's ensuing residence in 
the Bue Pigalle, Paris, were " The Triumph of Music," ** Orpheus 
Bedeeming Eurydice," exhibited 'm London in 1856, and "The 
Feigned Death of Juliet," exhibited in London in 1858. 

As a member of the original Hogarth Club, Leighton knew 
the Pre-BaphaeUte Brotherhood. His famous "Lemon Tree" 
drawing was first seen in the Club Booms, Waterloo Place ; it was 
done, with many other studies from nature, during the spring of 
1859, on the Island of Capri. In the year 1860, he settled in London, 
at No. 2, Orme Square, aad painted " The Odalisque," engraved by 
Lumb Stocks, BA., " The Star of Bethlehem " and " Sisters/' 
exhibited in 1862, "Girl Feeding Peacocks" and "Jezebel and 
Ahab," exhibited in 1863. His black and white drawings for the 
wood engraver are not enough known, such as the cuts in 
Dalziel's Bible, " Cain " and the two " Sampsons." Other 
examples are the illustrations to " A Week in a French Country 
House," " Bomola," and " The Great God Pan," done for the 
poem by Mrs. Browning and published in the ComhiU Mctgazine» 
He was elected an Associate of the Boyal Academy in the year 
1864, and exhibited " Orpheus and Eurydice " aud " Golden Hours" 
that year, " David " and " Helen of Troy," in 1865, " Syracusan 
Brides leading Wild Beasts in Procession to the Temple of Diana '* 
in 1866. To this year also belong the mural painting in 
* spirit fresco,' to the memory of Mrs. Pepys Cockerell, in 
Lyndhurst Church ; the subject is " The Parable of the Wise and 
Foolish Yirgins," and this was for the most part the work of hia 
spare Saturday afternoons during that summer. This year, 
too, George Aitchison, B.A., the architect, completed the well- 
known house. No. 2, Holland Park Boad, where Frederic Leighton 
lived during thirty years ; travelling from time to time, to Spain 
in 1866, and to Egypt 1868. He frequently visited Italy. Living, 



i 



LEIGHTON. 155 

howeyer, in the same land as the Elgin Marbles, the spell 
of Greek art fell more and more over him. Shakespeare and 
Yasari, the inspirers of his eiurly work, were replaced by Homer and 
the Greek Dramatists. 

He was elected a full member of the Boyal Academy in 1868. His 
Diploma picture, ** Saint Jerome in the Desert," may be seen at 
Burlington House. " Daedalus and Icarus " and ^^ Mectra at the 
Tomb of Agamemnon/' Hre both of this time. In 1872 appeared 
'^ The Summer Moon," two Greek girls sleeping in a round 
niche. ^ The Industrial Arts of War anfl of Peace," decorations 
for South Kensington Museum, are of 1872 and 1873. ** The 
Antique Juggling Girl" and *' Glytemnestra Watching on the 
Battlements of Argos for the return of Agamemnon," of 1874, 
also belong to these busy years, which culminated in the triumph 
of " Daphnephoria," his largest processional picture. 

In November, 1879 he was elected President of the Boyal 
Academy and shortly afterwards he was kpighted, as Sir Frederic 
Leighton, a name dear to all artists, upon whom his sympathy 
was ever freely bestowed, no matter to what school or movement 
they belonged. His gifts were lavished in the service of the Boyal 
Academy. *' Love to the Academy 1 ' are his latest recorded 
words. In aU he exhibited some 250 works in London. His own 
portrait with the Elgin marbles for a background was painted 
in 1881 for the Uffiai Gallery, Florence. 

Sir Frederic Leighton was created a Baronet in 1886, and a 
Baron on January the Ist, 1896, being the first painter elevated to 
the Peerage ; he died, without having taken his seat in the House 
of Lords, on the 25th of the same month, and was buried in the 
crypt of Saint Paul's Oathedral. He was Hon. LL.D. of Cambridge 
and Edinburgh ; Hon. D.C.L. of Oxford ; D.Litt. of Dublin and 
Durham ; Hon. Member of the Boyal Scottish and Hibernian 
Academies ; Hon. Member of the Academies of Antwerp, 
Belgium, Berlin, Florence, Genoa, Perugia, Borne, Turin, and 
Yi^ma ; Associate of the Institute of France ; Oominander of 
the Legion of Honour ; Commander of the Order of Leopold ; 
Knight of the Prussian Order ^* Pour le M^tite " ; Knight of 
the Coburg Order " Dem Yerdienste " ; and ex-offido Trustee of 
the British Museum, and of the National Portrait Gallery. In 
1859 he won a medal of the second class at the Paris Salon. 
In 1878 he was made Officer of the Legion of Honour. At the 



i56 LBIGHTON. 

*' fopcMBtioii UmfermUe,'' <A 1869, he reoetTed « gold mediL Ab 
• ac^pior iie was awarded a medal of the first dais in 167t, and 
in liiS Ae "^ €kaBd Prix " itadf .» 

No. ^CU> ^^And 0^ Sea gave up the Dead whiA were 
in itr—Be^. XK^ v. 13. 

Tliifl ^otare Is a repetiti<Mi of a compositkm deeigned as 
portion af it Decorative Scheme for liie Done of Babrt Paul's 
-Qatheoral. 

4 young n^ rises f rpqi the waves scipiK)fting his'wife and mi 
in his arms ; oelow them to the left, a man shrouded in purple and 
red liftb his )iead above the waters ; on the rocks the tomba 
deliver up fhe£r dead, in 13ieir shrouds ; one, tb 49ie kift, seen 
against the wtiite doud, is crowned ; to the right, k figure In i^oiae- 
e^onred drapeiy lifts his arms witii a despairing action ; others 
gaze up at the l^ht light burstiiig throqgh the darlc^ess. 

Oil canvas, oiroiilar, 7 ft. 6 in. in diameter. 

Exhibited at the iu>yal Ax»demy in 1892. 

Xate Gift, 1894. 

No. 1«7«. The Baih of Pwycke. 

Pysche is standing at the top of some marble steps turned to 
the right, Witli heir left arm Iifibing her whJte drapieiH^s ovl^t her 
head ; i^e lodks down at the water %hich reflects her d l' al ^fe rtl iB, 
white and yellow, and a copper vase that stands on the ec^ of 
the balii; bi^ond iw a colonnade of .marbie columefi with gilt 
of^itab and bases ; purple curtains hung between thenf fprni a 
screen from the outer world ; above is blue pky with wnite clouds. 

On canvas, 6 ft. 2^ in. h, by 2 ft. J in. to. 

Exhibited at the Boyal Academy in IddO. 
Ghantrey Purchase, 1890. 

No. 17SZ. The Sluggard. / 

The sluggard stretdMs himself as he presses a laurei wveitth 
under the heed of his right foot. Inscribed, Fred Leighton, 18^. 
Exhibited at the Royal Academy in 1886. 

Bronze, 6 ft. 8 in. A., including 3| in. of bronae base, which is 1 ft. 
8iin.Z.by 1ft. 10} in. io. 

Tate Gift, 1894. 

* 9tr F, IMffhton, P^U.^ his lAJe and Worlis. by Vrs. A. Lang. ** JKm i^ fb£ 
TinuT The Athenamm, January, 1896, and Oaialogiiea of the Bioyal Academy 
Kational Portrait Gallery, and Mesors. Gristle, Manson ^ Wbod^ 



LEIGHTON— LESLIE. 157 

No. 17Mfa An Athlete Struggling with a Python. 

An athlete is crashing the neck of a snake in his ripfat hand; with 
his left he attempts to &ee himself from its coils, wlmfa twine twiod 
roimd his left tlugh and once round his right ankle. Inaoiibed 
F. LEIGHTON. 1877. 

Bronze, 6 ft. 9 in. A., inclnding the bronze base of 5 in. thiokneMi 
which is 3 ft. 2\ in. h by 2 ft. 3 in. to. 
Exhibited at the Boyal Academy ia 1877. 
Chantrey PorohaBe, 1877. 

No. 1761. An Athlete Struggling with a Python. 

A planter cast of the original sketch in wax for '^ An Athlete 
StmggKng with a Python." No. 1754. 

Plaster 10 in. h, 

FMsented bgr Professor Alphonse L^ros in 18d7. 

No. ]l9i9C> Romeo and Juliet: Act IV. ^ Scene S. 

A stody for the picture exhibited at the Winter ISxhibilionf 
Burlington House, in 1897, painted in 1858. Juliet, apps^renUy 
lifeless, lies on a couch to the lef c, her mother and the nurse bend 
over her and Gapulet laments her fate ; the Count Paris is on the 
right, he is in bridegroom's dress of light bliie crowned with roses, 
and falk into the arms of Friar Laurence. The wedding procession 
is seen in the distance^ 

On wpodt 7 in. ^ by 11^ in. tp> 

Bequeathed by Mr Henry Yaughan in 1900. 



XiSSXiZB (Chables B.}, &.A. 

B. 1794. D; 1859. 

Oharies B. Leslie was bom in Glerkenw^, of American parents, 
Oet 19th, 1794. He was taken in 1799 by his parents to Philadelphia^ 
United States, and was there apprenticed to a bookseUer. In 1811 he 
returned to England, having giv^i up booksdling for the arts. He 
entered as a student of the Boyal Academy, and reeled some 
instruction also from Washington Allston, and from the Pi^dent 
of the Academy, West, bo^ Americans ; for the latter Leriie 
executed some copies for America. He lived in the same house 
with Allston, in Buckingham Place, Fitan^ Squate, and skfffied as 
a ^jrtiriBdt painter, but in a very few years turned his attention more 
pAirtieiikrly to that style in which he afterwards so eipinently 
diatingnifH^ himMlf — tiie higher ffeftr§, Leslie's first iiiq»ortsti 



L 



158 LESLIE. 

picture established his reputation, '^ Sir Roger de Goverley going 
to Ohurch/' &o., ' from the Spectator, which was painted for 
Dunlop: it' was in the Academy Exhibition of 1819, and was 
repeated for the Marquis of Lansdowne. In 1821 he exhibited 
''May-day in the Beign of Queen Elizabeth," from Warner's 

AUnon^s England : — 

** At Pa^e be^n onr Morrise, and ere Pentecost onr May, 
Then Bobin Hood, liell John, Friar Tnok, and Marian deftly play. 
And Lord and Ladie gang till kirke with lads and lasses gay. 

OA.zzly. 

This picture procured the painter his election in that year as an 
associate of the Academy; and in 1826 he became a full acade- 
mician. His picture, painted for Lord Egremont, of "Sancho 
Panza and the Duchess," of which there is a re^tition, with 
slight alterations, in this collection, was exhibited in 1824. 
In 1827 he exhibited "Lady Jane Grey prevailed on to accept 
the Grown;" in 1829, "Sir Roger de Goverley and the Gypsies;" 
In 1831, " The Dinner at Page's House," from the Merry Wives 
of Windsor, and the " Uncle Toby and the Widow," now forming 
part of the Yemon Gollection. In 1833 Leslie was made 
Professor of Drawing at the Military Academy of West 
Point New York, but he gave up the appointment after a 
five months' residence there, and returned to London, and 
from this time few exhibitions were without some important 
contribution from the pencil of Leslie, though he contributed but 
seventy-six pictures altogether. Among the most remarkable were 
— ^in 1838, his characters of the " Merry Wives of Windsor," now 
in the Sheepshanks Gallery; in 1844, the "Sancho Panza," in this 
collection; in 1850, " Katharine and Gapucius," from Henry VIII.; 
in 1851, " Falstaff personating the King;" and, in 1854, " The Rape 
of the Lock." In 1848 he was elected Professor of Painting at the Royal 
Academy, but resigned this office in 1851; and in 1855 his lectures 
were published under the title of a Handbook for Young Painters. 
He hsid already appeared as an author in 1845, when he published 
a Life of Constable. Leslie's interesting and valuable Life of 
Reynolds, which he unfortunately left unfinished at his death, 
was completed and amplified by the late Tom Taylor.^ 

He died in London, May 5th, 1859, in his sixty-fifth year.f 

* Life and Times of Sir Joshua Seynolds, commenced by Oharles Bcbert 
Leslie, B JL Oontinned and concluded by Tom Taylor, JULA. 2 vols. Loaa^n. 
Murray, 1806. 

f Royal Academy Catalogues, Art Journal, 1866. Autobiographieal Seeolleetiona 
ef the late C. JR. Leslie, BjL, 2 vols. Svo. 1860. 



LESLIE. 159 

No. 402L Sancho Panza in the Apartment of the 
Duchess. 

Don Quixote^ p. il. o. 33. 

Bancho, having by the command of the Dnchess seated himBelf 
opon a low stool, is saying, — " Now, Madam, that I am sore that 
nobody but the company present hears us, I wiU answer, withoat 
fear or emotion, to all you have asked, and to all yon shall ask 
me ; and the first thinff I tell yon is, that I take my master, Don 
Quixote, for a downright madman, etc.*' 

The Duchess, seated on the couch towards the middle of the 
picture, listens to the ludicrous squire with a charming grate ; 
and her female attendants, the young women on the right, appear 
to enjoy the humour of the moment with all the zest of ingenuous 
nature, while the duenna Rodriguez, the staid old lady to the left, 
by her misplaced dignity, only adds to the comic effect of the 
scene. The model for Sancho was Ghantrey the sculptor, who was 
a friend of Leslie's. 

On canvas, 4 ft. h, by 5 ft. to. 

Engraved by W. Hmuphreys ; and by B. Staines. 

Exhibited at the Boyal Academy in 1844. 

This is a repetition, with some alterations in the details, of a pieture 
painted in 1823 for Lord Egremont and now at Petworth. 

YemoQ Collection, 1847. 

No. 403> Uncle Toby and Widow Wadman in the 
Sentry Box. 

*'I protest, Madam,' said my nnoleToby,*! can see nothimg wlmtever in 
your eye.* 

** * It is not in the white,' Raid Mrs. Wadman. My nnole Toby looked with 
might and main into the pnpil."— 7V<«^ram Shandy. 

The Uncle Toby is said to be a portrait of Bannister the 
Comedian. 

On canvas, 2 ft. 8 in. h. by 1 ft. 10 in. to. 

Engraved by Danf ord ; and by L. Stocks, B.A. 

Exhibited at the Boyal Academy in 1831. 

Vernon Collection, 1847. 

No. 1182L A Scene from Milton^ s " Gomusy 

The Lady, draped in white, sits with clasped hands in the 



160 LESLIE. 

Badliaiited Ghair, half shrinkiiig from Comas who offws her the 
enchanted cap as she says — 

**And wonldst thou aeek.eygain to trap ma here 
With liqnorish baits fit to ensnare a bmte f 
Were it a drankbt for Juno when she banquets 
I would not taste thy treasonous oue^— " 

On canvasy 12^ in. A. by 1 ft. 3} in. to. 

Beqasathed l^ the l«te Mn. Elisabetib. y%ngliaA in ^^ 

No. X790m Lady Jane Orey r^fMmg th& Grown. 

Stady for a portion of the picture at Petworth. lady Jane 
Grey m ft whit^ dress with a large emerald j[ew(9l and pearl 
pendant at her breast, with a girdle to match, stands beside Liord 
Dadley dressed in black Telvet, and looks at the parchment signed 
'* Edward " in the hands of the Duke of Northnmberland kneeling 
on the left. On a table to the right, covered with a yellow 
cloth, is a red-bound book inscribed IIAATON. 

On canvas, 1 ft. 8^ in. A. by 1 ft. 7 in. to. 

Exhibited at the National Bzhibition of Works of Art, Leeds, in 
1868. 

Bequeathed by Mr. Henry Yaogban in 19O0L 

No. 1792. The Duke and the I>uch$8S reading Don 
Quixote. 

A sketch for the picture painted in 1829. The Duke and the 
Duchess sit under an arbour in an Italian garden. Signed, 0. B. 
Leslie. 

On canyas, 9^ in. h, by 7^ in. w. with arched top. 

Bequeathed by Mr. Henry Yaughan in 1900. 

No. 1793. Christ rebuking His Disciples by calling the 
Little Child. 

St. Mark IX., verses 33-35. 

A sketch for the picture painted in 1858. 

Christ and the twelve Apostles in the house at Oapemaam 
He calls the child who is with his mother on the left of the 
picture to set him in the midst of them. 

A green landscape is seen through the doorway. 

On canvas, 8 in. A. by 104 ^* ^^ 

Bzhibited at the National Exhibition of Works of Art, Leeds, in 
1868. 

Bequeathed by Mr. Henry Yaughan in 1900. 






LESLIE. 16l 

No. 1794hi FaUtaff personating the King. 

From ilie first part of Shakespeare's Henry lY. Act iL 
scene 4. A room in the Boar's Head Tavern. Falstaff as the 
filing is seated at the end of a long table to the right surrounded 
by his oompanions, Bardolph and the rest ; he is saying ^* Harry, 
I do not only marvel where thou spendest thy time, but also how 
thou art accompanied " Prince Hal stands with his hand on the 
table to the left, listening to the burlesque rebuke. 

On panel, 5| in. A. by 8^ in. to. . 

Exhibited at the Shakespeare Tercentenary, Stratford-upon-Ayon, 
in 1864. 

A Stu4y for the head of Prince Sal. 

Reversed. 

On imnel 6| in. A. by 4 in. to. 

A Study for the head of Falstaff. 

On panel, 5} in. A. l^ 4^ in. to. 

Bequeathed by Mr. Henry Yaughan in 1900. 

No. 1796- Sancho Pa/ma and the Duchess. 

A sketch for the picture in the Yemon Oollection, No. 40^, in 
ibis Gallery. The Duchess is dressed in white and sits un^er a 
canopy of cloth of gold, Sancho is dressed in yellow, and the Lady 
in Waiting on. the right in orange. 

On cardboard, 6| in. h. by 6) in. to. 
Bequeathed by Mr. Henry Yaughan in 1900. 

No. 1798. Anne Page and Slender. 

Merry Wives of Windsor. A sketch for the picture exhibited 
at the Bethnal Green Museum in 1875. A larger version of the 
subject was shown at the Old Masters' Exhibitioa at Burlington 
House in 1870. Slender in white and pink with the assistance of 
Jiuitiee Shallow courting Mistress- Anne Page. She is dressed in 
a black gown with a yellow skirt and stands in the window recess 
holding a rose. 

On canvas, 1 ft. 8 in. A. by 1 ft. 7 in. to. 

B^iibited at the National Exhibition of Works of Art, Leeds, in 
1868. 

Bequeathed by Mr. Henry Yaughan in 1900. 

(B.A.) L 



162 LESLIE. 

No. 1799. Charles II. and Lady Margaret Bellmden. 

A finished sketch for the large picture from Old Mortality at 
Petworth. 

" Oa his route to the West cf Scotland to meet Oromwell in the unfortunate 
field of Worcester, Oharles n. had actually breakfasted at the tower of 
Tillietudlem, an incident which formed from that moment an important era la 
the life of Lady Margaret, who seldom afterwards partook of that meal, either 
at home or abroad, without detailing the whole circumstances of this BoyiU 
visit, not forgetting the salutation His Majesty conferred upon each side of her 
face, though she sometimes omitted to notice that he bestowed the same favour 
on two buxom serving wenches who appeared at her back elevated for the day 
to the capacity of waiting gentlewomen.** 

-OldMortaUty. 

Charles IL ffallantly leads the Lady of Tillietudlem, dressed in 
black and followed by the serving women and chaplain, to the 
banquet prepared for him in the old Hall, hung with arms, 
armour, and family portraits ; two cavaliers stand on the left with 
a little girl in black. The floor is strewn with flowers. 

On oanvasy 10} in. A. by 1 ft. 2 in. to. 
Beqaeathed by Mr. Henry Yanghan in 1900. 

No. 1801. Viola and Olivia. 

K - 

From Twelfth Night. Tiola as the Prince's messenger, Gesario, 
dressed in a rose-coloured uniform, stands difSidently on the left, 
as Olivia, dressed in deep mourning, and sitting under some columns 
in an Italian garden, Ufts her veil. 

This picture was upon the easel when the artist died. 

Oil on paper, 9 in. A. by 1 ft. to. 

Bequeathed by Mr. Henry Vaughan in 1900. 

No. 1803> A Portrait of John Everett MillaiSj A.B.A. 

Sir John E. Millais, Bart, P.B.A., at the age of 23 years. Three- 
quarter face head and shoulders ; he wears a black coat, a black 
■took with white spots, and a gold pin with a head in the form of 
a swan. Painted in 1852. 

On panel, 1 ft. A. by 9f in. w. 

Bequeathed by Mr. Henry Vaughan in 1900. 

No. 1804. The Bape 0/ the Lock. 

A study for the figures of the Court in Queen Anne costumeB, 
principally in white and red, in one of the state rooms of Hampton 
Oourt Palace. 

On wood, 9} in. h, by 1 ft. 1 is. w. 

Bzhiblted at the Manicipal Art Gallery, Leeds, Loan Collection of 
Works by eld Masters in 1889. 

Bequeathed lny Mr. Henry Vaughan in 1900. 



LESLIE. 163 

No. 1808. Twelfth Night, Act i.. Scene S. 

The picture for which this is a sketch was exhibited at the 
Winter Exhibition, Burlington House, in 1870. Sir Tobv Belch, 
dressed in black and yellow, sits at a table in a room in his niece 
Oliyia's house, encouraging Sir Andrew Agnecheek, who stands on 
the left in white and pink, to "accost*' Maria, the chamber 
maid. She stands between them in an amethyst-coloured dress 
with a red underskirt. 

On panel 8| in h, by 104 ^ ^• 

Exhibited at the Shakespeare Tercentenary, Stratf ord-apon-Ayoa, in 
1864. 

Bequeathed by Mr. Henry Vaughan in 1900. 



No. 1940- K^t in School. 

A school-girl standing at the door of a schoolroom conniog 
her repetition ; a fellow pupil sit^ on the doorstep with her 
needlework, awaiting the term of the punishment that they may 
escape into the sunny garden seen through a window in the 
lobby. Liitialed G. D. L., and dated 1876. 

Presented by Sir William Agnew, 1904. 



No. 2070. The Deserted Mill. 

The mill, partly in ruins, stands on the further side of the 
mill-pond. A clump of trees grows on a small island to the left, 
and another group to the right of the buildings : these are 
reflected in the water, as well as the sanset sky, which is flecked 
with small clouds and burns red through a belt of trees in the 
background. In the foreground the surface of the water is 
broken with lily-leaves and stems of rushes. 

Canvas, 3 ft. 11 in. A. by 3 ft. 1 in. to. 

Exhibited at the Royal Academy, 1906. 

Chantrey Purchase, 1906. 



(B.A.) L 2 



I 



164 LEWIS. 

JjSWXS (John Fbedebigk), ft-A* 

B. 1805. D. 1876. 

John Frederick Lewis, the eldest son of Frederick C. Lewis, an 
engraver, was bom in London in 1805. He devoted the earliest 
years of his career to the study of animal life, and, while still a boy, 
exhibited at the British Listitution and Royal Academy. He was 
first known to the world as a water-colour painter and joined the 
" Old Society " in 1827, becoming a full member three years Iftter. 
In 1832 he went to Spain, where he remained two years, studying 
from the works of the great Spanish Masters and painting pictures 
illustrative of inddents in the Carlist War. Li 1843 circum- 
stances led him to travel in Egypt and the East, where he made 
a prolonged stay, and found the subjects of his most character- 
istic work. Soon after his return to England he resumed the 
practice of oU painting. He was elected an Associate of the Royal 
Academy in 1859 and an Academician in 1865. The jHctures which 
he exhibited are too well known to need enumeration here. Lewis 
died at Walton-on-Thames in 1876. 

No. 1405. Edfou: Upper Egypt. 

On the right of the foreground two camels lie on the ground 
laden with pack-saddles, etc. Behind them is seen a tent of white 
canvas pitched between the walls of Edfou and its temple, whose 
propylon and colonnade form conspicuous objects in the middle 
distance. Beyond is a plain dotted with palm trees which rise 
between the village and the Nile, the opposite banks of which are 
bounded by hills. Above the latter, cloud cumuli hover over the 
horizon or rise into a summer sky. On the left of the foreground 
an Arab chief reclines on the ground. Several other figures are 
seen in the middle distance. 

Panel, llf in. h. by 2 ft. 6^ in. w. 

Purchased from Messrs. Agnew k Sons out of a fund bequeathed by 
the late Mr. Francis Clarke, 1894. 

No. 1688. The Courtyard of the Coptic Patrtarch^s 
House in Cairo. 

In the centre of a courtyard, under an acacia tree, which 
casts its flecked shadow on the ground, is a square shallow 
pool, or impluvium, bordered by coloured tiles and paved with 



LEWIS. 165 

mosaiCi roimd which are gathered pigeons and dncks and two 
white long-naired goats, nnder the charge of a boy in oright 
coloured garments a^ turban, who is throwiiig bread to t^e 
ducks ^a^(ing in the water. Benind nim stands a young girl 
nnyeiled (the hoiue being Christian) scattering grain to the 
pigeons from a bowl. In a deep recess in the background under 
the first floor of the building, a number of figures are grouped 
round a man seated on the ground who is reacSn^ a paper. The 
Patriarch himself, in a large blue turban, is seated, parUy hidden 
by some furniture, on a carpet spread on the ground under the 
acacia tree. The walls of the lower floor are of sandstone beautifully 
carved with Arabic inscriptions and decoratiye panels. The wallfi 
above are whitewashed, and are occupied by extensive lattice 
windows of the usual elaborate patterns. 

The finished study for a picture exhibited in the Boyal 
Academy in 1864. 
On wood, 1 ft. 2| in. h. by 1 ft. 2 in. U7., the top comers rounded* 
Purchased in 1900. 

No. 1729« Sketch in Spain. 

A Spanish muleteer is riding a gaily-caparisoned mule, a woman 
in a folaok mantilla rides behind lum on a pillion. This drawing 
WM presented to Lady Gordon by the artist. Higned, J. F. 
Lewis, Granada. 

Black chalk and opaque water-colour on brown paper, 10} in. A* bf 
1 ft 2 in. fo. 
Presented by Miss Gordon. 

No. 2199> Portrait of Mehemet Ali Pasha. 

1 ft. 3 in. h. by 1 ft. 9^ in. w. 

No. 2200> Two Turhaned Figures seated on the ground 
in an Eastern courtyard. 

Possibly a study of the same courtyard at Cairo as appears in 
No. 1688. 

1 ft. h. by 10 in. w. 

No. 2Z01. Corridor leading to Sacristy of Santa Groce^ 
Florence. 

The view is lookingf towards the chnroh, and shows the walls 
haog with pictures, inscribed '' Santa Groce, July 28." 

8^ in. h. by 11^ in. to, 



166 LEWIS— LINNELL. 

No. 220Z. Mir odor in Sanclies* Cottage, AlJiamira, 

Interior of a small domed building in Moorish style, with view 
through arched openings. Inscribed in left corner ** Mirador in 
Sanchez* Cottage," and in right corner " Aihambra/' 

8^ in. h. by 11 in. w» 

No. 2203- The Interior of a Church. 

7 in. h, by lOJ in, w. 

The above five studies, Nos. 2199-2203, are in pencil and water 
colour on tinted paper. 

Presented by Mr. H. Finch, 1908, 



&ZNNB&& (John). 

B. 1792. D. 1882. 

John Linnell was bom in London in 1792, and, having shown an 
early taste for art, entered the schools of the Boyal Academy in his 
fourteenth year, by the advice of Benjamin West, then President. 
He also studied under John Y arley, and made so much progress that 
m 1807 he was able to contribute two works to the Royal Academy 
Exhibition, viz., *' A study from Nature " and a " View near 
Beading." In the same year he gained a medal for modelling 
from the life at the Royal Academy, and in 1809 the British 
Institution awarded him a prize of fifty guineas for a landscape 
entitled *^ Removing Timber." 

While quite a young man he formed an intimate friendship 
with Mulready, and for some time the two artists lived together. 
At this early period of his career Linnell devoted himself to more 
than one branch of art, including engraving and portrait painting 
in miniature. He also gave lessons in drawing. In 1810 he 
exhibited "Fishermen waiting the return of the Ferry Boat, 
Hastings," and the following year " A Scene from Nature," at the 
Royal Academy, but for ten years afterwards no work of his 
appeared at Somerset House. From 1818 to 1820 he contributed 
to an exhibition opened in Spring Gardens by the Society of 
Painters in Water-colours, which, for a short period, admitted 
works executed in oil. Linnell's name has of late years been 



LINNELL. 167 

chiefly associated with landscape painting, bat half a century ago 
his portraits were well known. Among the persons more or less 
distingnished who sat to him were Lord Ingestre, F. Baring, 
Bamnel Rogers, Sir H. Torrens, and Lady Lyndhorst in 1830, 
Lord King and Sir Aognstns Oalloott in 1832, Molready and 
Matthews in 1833, Lord Lansdowne and Lord Monteagle in 1836, 
Sir Robert Peel in 1838, W. Gollms, R.A., Whateley, Sterling, and 
Oarlyle in 1844. Some of these portraits were engrayed in 
mesEOtint by the artist and published. 

Among the numerous and varied works which Linnell executed 
during his long and busy life were several landscapes, which, from 
the scale and treatment of the figures, may be regarded as subject 
pictures. One of the first of these was e^diibited in 1835 under the 
title of " Ghrist's Appearance to the two Disciples journeying to 
Bmmaus," which attracted much notice. In the same category 
may be placed his " Christ and the Woman of Samaria," *' The 
Disobedient Prophet," ''The last Gleam before the Storm," 
"Crossing the Brook," "The Timber Waggon," "Barley Harvest," 
and " Under the Hawthorn." 

Linnell published "Michael Angelo's frescoes in the Sistine 
Chapel" (illustrated by drawings made by his daughter, Mrs. 
Bamnel Palmer), and another work entitled " the Royal Gallery 
of Pictures " (a selection from the cabinet paintings in Buckingham 
Palace). His pamphlet 'The Royal Academy a National Insti- 
tution' appeared in 1869. Although a frequent exhibitor at the 
Royal Academy Linnell was never enrolled among its members, 
and late in life is supposed to have declined the honour of 
AsBodateship. 

He resided for many years at Bayswater, but in 1852 retired 
from London to Redhill, where he had built a house for himself, 
and where he died on the 20th January 1882, in his ninetieth year. 

No. 438- Wood Gutters. 

In an open space on the outskirts of Windsor Forest is a group 
of men engaged in felling timber ; others are resting in the shade 
under the trees on the right. This is a picture of Linnell's early 
and best period. 

On wood. 94 in. h. by 15 in. w, 

Bngiaved by T. A. Prior. 

Vernop CoUection^ 1847, 



^5* JJNNELL. 

No. 4k39. The Windmill.] 

A Hkj ladten wiih heayy olondB paBsing ovdr a hiHy kiidmape 
indiesteb a thondfirsiorm ; on the r^t is an old wooaea mill ; itt 
t)ie foreground to the left a herd of oattle are standing in a pool 
of water. 

On canvas, 14^ in. h. by IS in. to, 

Bngraved b^ J. O. Bentley and etched by David Law. 

EzMbited at l^e Boyal Academy in 1847. 

Vernon Collection, 1847. 

IJo, 1112. Portrait of Mrs. Ann Hawkins. 

An expressive likeness of an elderly lady in a bkak silk irew 
and barge white lace cap. Seen to waist. 

On panel, S^in. A. by 6} in. w. 

Painted in 18S2. 

Presented in 1882, by Mr. Fred. Piercy. 

No. lS4bC- Noonday Best. 

Three harvesters are sleeping under a com-stook after their 
midday meal; beyond, the fields of yellow com alternate With 
green crops and the far bine horizon is hazy under the soft doods 
of a fine harvest day. Signed, J. Linnell, lb65. 

On canvas, 3 ft. ^ in. h. by 4 ft. 6^ in. te, 
Tate Gift, 1894. 

No. U47« Contemplation. 

Galled " The Edge of the Wood " when in the collection of Joha 
Graham, Esq. 

In a grassy glade at the edge of a wood, spreading luxuriantly 
over the hill to the right, a young man in a brown smock is 
reclining. He has been reading in a book and turns his head to 
look through the twisted branches of a leafless tree. A yellow- 
leafed tree near the flock of sheep in the middle of the picture 
shows that autumn is well advanced. Signed, J. Linnell. 

Painted in the year 1872. 

On canvas, 2 ft. 3f in. h. by 3 ft. 2| in. to, 

Tate Gift, 1894. 






LINNELL— LINTON. 169 

No. 20C0. The Lmt Load. 

The 8^ 18 infltBied wil^ % stomijr sonaei. In tho diiiiinnn 
parple hius. In the foreground a road winds uphill, and a 
harye9i-wa|g|pon apptoadies from the right. Further te the light, 
a baidc with tnes and figurea. To the ledEt a man ofMus a gate 
leadhig to a thatched cottage or ham. In frooi ot thia 
ia a wettan, with a groop of dancing diildren. loseribed 

J. Linnell, 1853. 

Ganyas, 2 ft. 11 in. h, bj 4 ft. 9^ in. to. 
Preaented by Mr. J. W. Carlile, 1906. 



&XHTON (William). 

B. 1791. D. 1876. 

William Linton wae b<Mm at liverpool, April 22nd, 1791. He waa 
at finrt plaeed la a merchant'a office there to draw him from hia 
fancy for painting, bnt to little purpose, he penosted in has choice, 
and in 1817, having got three landscapes into the Bojral Academy 
exhibition he was sufficiently encouraged. He made tours in 
Wales, and in the Highlands of Scotland, painting many views. 
He eventually made several continental excursions, and produced 
some pictures of the most remarkable places, as this view of '* The 
Temples of PsBstum." He died in London, August 10th, 1876. 
He was a member of the Society of British Artists. 

No. 1029. The Temples of PceBtumy in Magna Ghraeda. 

These temples which are near the sea in the G-olf of Balemo, 
are of the Doric order and of uncertain date. The picture is a 
f andfnl composition rather than a true representation of their 
grouping and situation. Signed, W. Linton. 

On canvas, and according to the inscription on the picture, painted 
itX encaustic ; 4 ft. 10 in. h, by 7 ft. 10 in. to. 

Bequeathed by the painter in 1876. 



-A. a 



170 LOGSDAIL— LUCAS— MACALI.UM. 

&OOSDAZ& (William). 
No. 1621a* Saint Martinis in the Fields. 

The picture represents a typical scene on a wet day in 
Trafalgar Square. The principal feature is the fine portico of 
St. Martin's in the Fields, which forms a background to some 
incidents of life in the London streets. Signed, William 
Logsdail, /88, 

On canvas, 4 ft. 7 in. ^, by 3 ft. 11 in. to. 
Bxhibited at the Royal Academy in 1888. 
Ohantrey Purchase, 1888. 



liVOAS (John Seymour), &.A. 

No. 1620.* After Gulloden, Rebel Hunting. 

Three blacksmiths are grouped round an anvil preparing a new 
shoe for the dapple-grey horse of a fugitive Jacobite, who has 
takeo refuge in their smithy ; they are interrupted by the 
entrance of a captain and detachment of the First B^[iment of 
Foot Guards in their uniform of 1745. Signed, Seymour Lucas, 
1884. 

On canvas, 4 ft. 4| in. h, by 6 ft. 2} in. to. 
Exhibited at the Royal Academy in 1884. 
Ghantrey Purchase, 1884. 



WAOA&liVBI (Hamilton). 

B. 1841. D. 1896. 

Hamilton Macallum was bom at Kames, in Argyllshire, on the 
22nd of May in 1841. He was a student at the Boyal Academy 
Schools, and began to exhibit in London about the year 1866 his 
bright pictures of fisher folk, sunshine and sea ; such as *' Shearing 
wraick in the Sound of Harris," "Booked in the CSradle of tbe 
Deep," " Water Frolic," " Music o'er the Waters," and « Coral 
Fishers." He hardly ever omitted to send works to the London 
galleries until the year of his death, which occurred in the sununer 
of 1896 at Beer, in South Devon. 



MAGALLUM— MaoOALLUM. 171 

1802. The Crofter's Team. 

A yonng girl and boy are dragffinff a radely-made plough, 
guided by an old man, through a sandy field by the sea -shore otot- 
lookiiig a wide expanse of flat sand. A shepherd's dog runs in 
front. Across the sea is a distance of low hills. Signed, 
Hi^milton Macallum, 96. 

On oanvas, 2 ft 11} in. A. by 5 ft. 6{ in. to. 
The first design for this picture was made in 1875. 
Exhibited at the Royal Academy in 1896. 
Fresraited by Mr. E. Homan, in 1897. 

No. 1714. Gathering Seaweed, 

Two men in a boat on a bright summer sea haul their load of 
seaweed along with the aid of a rope. Signed, Hamilton 
Macallum, 1878. 

Water-colour, 1 ft. 6 in. A. by 1 ft 2 in. to. 
Exhibited at the Victorian Era Exhibition, 1897. 
Presented by Mr. E. Homan, 1897. 

No. 171S> A Capri Boy. 

A bo^ is fishing with a rod from the rocks in the bright southern 
Signed, Hamilton Macallum, Capri, 1883. 

Water-colour, 1 ft. 6 in. A. by 1 ft 2 in. to. 
Exhibited at the Victorian Era Exhibition, 1897. 
Presented by Mr. E. Homan, 1897. 



Mb,cCASmIbVM (Andbsw). 

B. 1821. D. 1902. 

Andrew MacGallum was bom in Nottingham. He was employed 
as a youth at Messrs. William Gibson & Sons, hosiery manufac- 
turers, and commenced his art education at the Nottingham School 
of Design. In 1850, he went to the Manchester School of Design 
as an assistant teacher, nndor the head mastership of J. A. 
Hammersley. He removed to London in 1852, and entered the 
School of Design at Somerset House, where he gained a 
trayelling studentship, and made a tour in Italy. After studying 
art in Paris. and Italy he was made director of the School of 



17& MaqOALLUM. 

Art at Manobester and practised landac^pQ pa^ituig. Be exhibited 
first in 1849, and in all exhibited 72 works in the principal 
London exhibitions. He made a toor in Italy for the old 
Department of Science and Art, and the studies he brought 
hooae were ittilized in part in the architectural ornanxent of the 
Museum buildiDgs. The results of the tooir «re etmbodi^d i^ a 
MS. report with drawings in the National Fine Art Library. It 
is entitled '^Bqpoirt of a sojourn in Italy froca the years 1854 
to 1857 for the purpose of making studies of the mode« of 
execution and treatment of works of ornament^ ^, ^mpiled 
from notes, memoranda, and sketches made on the spot." 
He afterwards devoted himself to landscape painting,, exhibiting 
first in 1849, and in all exhibited 72 works in the principal London 
exhibitions. He visited Egypt with Lord Alfred Paget and painted 
a number of pictures of the Nile and its neighbouriiood, but hia 
ehief pictures were forest subjects, painted in Sherwood and 
Windsor Forests and Bnmham Beeches. Two of his pictures are 
in the Oorporation Gallery at Nottingham: ''The Major Oak, 
Sherwood Forest," painted in 1882, and an oil design illustrating 
the opening scene in P. J. Bailey's " Festus." In his latter years 
he made some silver point drawings. MacOallum died at Holland 
House Studios, LoDdon, on January 22nd, 1902. 

No. 1677. Silvery Moments^ Bumham BeecJm. 

An open wood of oaks and beeches, their branches covered with 
snow, is seen against a pale yellow sky flecked with rose-coloured 
douds. A frozen pool occupies the middle of the picture and 
the brambles and dead fern of the foreground are buried under 
heavy bdow. Signed, A. MacGallum, 1885. December. 

On canvas 2 ft. 11|^ in. h. by 3 ft. 10^ in. t«. 

Presented by the painter in 1899. 

No. 17A4. The Monarch of the Glen. 

A tall Scotch fir by the bank of a mountain stream is 
brilliantly lighted by the setting sun. Distant hills, also in light, 
are shown beyond the other trees which fringe the stream. Signed, 
A. MacOallum, Bannooh. 

Painted in the Black Wood of Bannooh, at Pitloohrie, N.B. 
Water colour, 8 ft. A. by 2 ft. 2 in. fo. 
?T9S9Qted b^ the Artist, in 1890. 



MACBETH— MACKENNAL—MACLISE. l?8 



No. 1S97. The Cast Shoe. 

A gronp of rustics is gathered round a wbite Ireorse ftt the door 
mi an inn overlooking a ferry. A man in a Telveteen coat and 
gaiters holds the horse, while a smith stoops to look at the hearse's 
loot. On the (^posite bank a road leads to a flat open coontrj 
boyond. Initialed B M, 1890. 

On oanyafl, 2 ft. 8} in. A. by 4 ft. 6 in. io. 
Etched by the artist himself. 
Exhibited at the Royal Academy in 1890. 
Ohaatrey Pnxchase^ 1890. 



(Bbstrah). 
No. ML4Ai The Earth and the Elements. 

Foor nnde female figures encircle a block of marble, in which 
they are partly engaged. White marble on white onyx circular 
base. 

Height, including base, 2 ft. 4^ in. Base 3^ in. 
Exhibited at the Boyal Academy, 1907. 
Ghantrhy Purchase, 1907. 



(Daniel), a. A. 
B. 1806. D. 1870. 

Daniel Maclise was bom at Cork, January 25th, 1806.^ His father, 
a native of Scotland, who had served in the Army, had established 
himself in business at Cork. Daniel Maclise was originally jdaoed in 

* Begisterof the 01d Presbyterian Church at Cork ; quoted in the ** HaadtxMk 
to the Tate GaDery,** by Edward T. Ck)ok. 



174 MACLISE. 

a bank, but he left this when still very yoang, entered himself as a 
student in the Oork Society of Arts, and thus commenoed the career 
by which he eyentaaUy gained his great reputation. In 1828 he 
was a student of the Boyal Academy in London, where he 
obtained the gold medal for the best historical composition in 
1831. He became an exhibitor at the Academy as early as 
1829 ; his first picture was " Malvolio affecting the Count,'' from 
Twelfth Night, In 1833 he attracted much notice by his picture 
of "Mokanna Unyeiling his Featureg^ to Zelica," exhibited that 
year at the British Institution, and by the stiU more able and 
characteristic work of "Snap- Apple Night, or All-HaUows Eve, 
in Ireland," exhibited the same year at the Boyal Academy. 
From this time Maclise exhibited a long series of works. 
He became an Associate of the Boyal Academy in 1835, and 
an Academician in 1840. The later years of his life were much 
engrossed by his compositions for the decoration of the Houses of 
Parliament, more especially for the two large pictures of "The 
Interview between Wellington and Blticher, at La Belle Alliance 
after the Battle of Waterloo," and " The Death of Nelson at the 
Battle of Trafalgar." The noble cartoon of the former is now the 
property of the Boyal Academy, which purchased it at the sale of 
his remaining worfai at Christie's, on the 25th of June, 1870. He 
executed many book illustrations, and has painted also a few 
portraits, among the latter, one of Charles Dickens in 1839, now in 
the National Portrait Gallery. 

Maclise died on the 25th of April, 1870, just before the opening 
of the Boyal Academy Exhibition. His friend Charles Dickens, a 
guest at the Academy dinner, pronounced, in the room where 
Maclise's last work — " The Earls of Desmond and Ormond " — ^was 
hanging, a very eloquent and feeling eulogy on the deceased 
painter, thus speaking of his ability and character : — " Of his pro- 
digious fertility of mind and wonderful wealth of intellect, I may 
eonfidently assert that they would have made him, if he had been 
so minded, at least as great a writer as he was a painter. The 
gentlest and most modest of men; the freest as to his generous 
appreciation of young aspirants; and the frankest and largest 
hearted as to his peers." ^ 

* Momoin of Maoliae ara pablished in the Sngliah Cyclopmdta and in the Art 
JdnnuU tor 1M7 and 1870. 



MAOLISE--MACWHIRTER 176 

No. 422» The Play Seme in '* Hamlet:' 

BmnUt to Horatio. ** There is a play to-nlffht before the king. 
One scene of it comes near the oironmstance 
Which I have told thee« of my father's death. 
I prythee, when thou seest that act af oo^ 
Even witn the very comment of thy soul 

Observe my uncle , . 

Qive him heedful note. 
For I mine eyes wiU rivet to his face.** 

The repreeentation shows the act of murder by poaring poison 
into the ear. Hamlet is lying in front of the stage, intently 
oboerdng the king, his uncle; on the left is seated Ophelia with 
HoratioDehind her chair; on the right are seated the king and 
queen. 

On oanyas, 5 ft. h. by 9 ft. fo, 

Bngzaved by G. RoUs. 

Izhibited at the Boyal Academy in 1842. 

Yemen Collection, 1847. 

No. 423* Malvolio and the Countess. 

The scene is from Twelfth Night; the Countess is seated in her 
garden, her maid standiiig behind her ; Malvolio approaches in 
yellow stockings, and cross-gartered, smiling fantastically — 

Olivia. ** How now, Malvolio ? *' 
Malvolio. "Sweet Lady, ho I ho I" 

OUvia. "Ood comfort thee ; why dost then smile so, and kiss thy hand so 
oftf- 

On canyas, 2 ft. 5 in. A. by 4 ft. 1 in. to. 

Engraved by B. Staines. 

Bzhibited at the Boyal Academy in 1840. 

Yemon Collection, 1847. 



(John), &.A. 
No. 1571. June in the Austrian Tyrol. 

The scene is an Alpine valley depicted at the moment when the 
pastures are a mass of white and blue flowers ; a little girl is 
stooping to gather some as she comes down a path which leads 
up the valley ; beyond a village in the middle distance are seen 
the rugged peaks of the Dolomites. Signed, Mac W 

On canvas, 4 ft. | in. h, by 6 ft. 1 in. to, 
Bzhibited at the Boyal Academy in 1892. 
Ohantrey Porohase, 1892. 



IT^ MARSHALL. 



CWlLLIAM GaLDBB), &.JL. 

B. 1813. D. 1894. 

William Galder MarahaTl was born at EcHnbiirgh in the year 1813, 
where he was educated and for some years practised his art ; he 
stadied in London under Ghantrey and Bailey, and in 1836 visited 
Borne. He first exhibited at the Boyal Academy in the year 
1835, and took up his residence permanently in London in 1839. 
He was elected an Associate of the Scottifdi Academy in 1842, 
of the Boyal Academy in London in 1844, and full Academioiaii 
in 1852. For the Art Union he executed '^ The Broken Pitcher " in 
1842. " Bebeoca," and other models in plaster were«elected by Art 
Union prize-holders ; and a reduction of " The First Whisper of 
Love" was chosen by the 300Z. prize-holder in 1845. The 
" Dancing Girl Beposing '' obtained an Art Union premium of 
5002. ; reduced copies in Parian marble being distributed among 
the subscribers. His " Sabrina " is well known from the porcelain 
statuette issued by Gopeland. For the Houses of Parliament 
he executed the statues of Lords Glarendon and Somers, and 
was employed upon important statues erected by public subscrip- 
tion, such as the bronze of " Sir Bobert Peel " at Manchester, 
and those of " Gampbell " and " Jenner," now in Kensington 
Gardens. Li the memorable competition of 1857, for the National 
Monument to be erected to the great Duke of Wellington, 
William Galder Marshall obtained the first prize of 700^ for 
his design, but the monument itself was wisely given to Alfred 
Stevens to execute, the bassi-rilievi for the chapel where it was 
first erected being entrusted to the prize-winner. Marshall 
executed the large group representing Agriculture for the 
Memorial to His Boyal Highness the f^ee G<»isort, in Hyde 
Park, during 1870. Among other public works on which he 
was ^Qgaged are, a bronze of ** Gromptoh," the inventor of the 
mule spinning madiine, erected in Bolton; a statue in marble 
of "Sir George Grey," Governor of the Gape of G^od Hope, 
placed in Gape Town ; and a statue of " James, Seventh Earl 
of Derby," for the spot on which that nobleman was executed 
at Bolton. Marshall was a member of the Boyal Gommission, 
appointed to represent British and Golonial exhibitors at the 
Paris International Exhibition of 1878. In recognition of hia 
services he was nominated a Ghevalier of the Legion of Honour. 



MARSHALL— MARTINEAU. 177 

He died on the 16th of June, 1894, at his resLdence in Ebaij 
Street, W., «ged 81 years.^ 

No. 1748. The Prodigal Son. 

"I will arise and go to my father, and will say nnto him, Father. I hare 
sinned against heaven, and before thee."— i&itoi Xtiite, chap, zv., verse 18. 

l^e prodigal is sitting with his hands chisped before Ki»n and 
looking upwards ; husks are upon the ground. 

Marble, 4 ft. A. 

SiMbited at the Boyal Aoademj of Arte, 1881. 

Chantrey Porohase, 1881, 



(Robert Bbaithwaits). 
B. 1826. D. 1869. 

Robert Braithwaite Martineau was bom in Guildford Street, 
London, in the year 1826 ; he was a son of Philip Martineau, 
Taxing-Master to the Court of Chancery, and Elizabeth Frances, 
his wife, the daughter of Robert Batty, M.D. 

Martineau was educated at UniTersity College School, London, 
and being intended for the law, articled to a firm of solicitors ; 
but he {Href erred art, and entered the school of F. S. Cary in the 
year 1848 ; he was afterwards admitted a student at the Boyal 
Academy, and obtained a silver medal for a drawing from the 
antique. He became a pupil of Mr. William Holman Hunt, and 
worked in the studio of that artist at Chelsea. 

He first exhibited at the Royal Academy in the year 1852 
"Kit's Writing Lesson,'* from Dickens's Old Curiosity 8kcp; in 
1866, " Katherine and Petruchio ; " in 1866, " Picdola ;" " The 
Pet of the Brood," at the Wmter Exhibition in 1869 ; in 1861, 
" The AlUes ; " "A Portrait," in 1862 ; in 1863, " The Last 
Chapter ;" in 1864, " The Knight's Guerdon " and a " Woman of 
San Germano ;" " The Young Princess with the Golden Ball " in 
1866 ; "Bertie, a Portrait," in 1867 ; and at the Great Exhibition 
of 1862, his '' The Last Day in the Old Home," his best known 
pictui'e, now in this gallery. 

> > < i, . .y ■■ . y m '\ ■ ■ ■■ ., . . » ■ ■ I ■ ■ » y ,' 

• *• Men aiid Women of fhe Time«." and tife " Anonal Be^iHter," for 1894. 
<BJL) »I 



1T6 MARTINEAU— MASON. 

He died of heart-disease on the 13th day of Felwnary in the 
year 1869, leaving an unfinished picture called "Ohrislaans and 
Christians : " the subject is a poor and aged Jew pedlar hunted by 
a savage Christian mob from an English town of tiie ISth eentury ; 
he falls in the last gasp of flight and fear at the door of some truer 
Christians, who shelter and reheve him. This was exhiUted during 
the summer after his death, with others of his pictures and studies, 
at the Cosmopolitan Club, in Charles Street, Berkeley Square.* 

No. 1500a The Last Day in the Old Home. 

The subject of the picture, which is crowded with incidents, 
represents the sale of the property of a younff man who has disai- 
pated his fortune. He stands by a table on the right, drinking a 
glass of champagne with his young son, while his wife and mother are 
engaeed in the last duties connected with theiir old home. Through- 
out the picture are various allusions to the causes of the ruin wmch 
has come upon the family, such as the betting-book and the dice- 
box ; and an auctioneer's catalogue on the floor to the right legibly 
explains the situation. On the frame are carved a laurel wr^th 
with the date 1523 alid a cap and bells, 1860, symbolising tb^ 
changes in the character of the family. Signed, Bobt. B. 
Martineau, 1862. 

On oahvas, 3 ft 6} in. A» by 4 ft. 81 in. to. 
Exhibited at the areat Exhibition of 1862. 
Presented by Mr. Edward H. Martineau, 1897. 



KASOir (Geo RGB HBMiNa), A.a*A. 
B. 1818. D. 1872. 

Ceorj^e Heming Mason was bom on the 11th of March 1818, at 
Wetley Abbey, in Staffordshire. He received his early education 
at King Edward's School, Birmingham, and was intended by hia 
father (who Was then in good circumstances) for the medical 
profession. With that object in view George Mascm studied, but 
appears nei^er to have qualified for practice. 

In 1^3 he left England with his brother, for the ContxaenU 
travelling through France, Germany^ and Switzerland. They 

* Piotiopary .of Nationiil Biography and the catalogue of the exhibition at 
the Cobmopoiitan Olub 



MASON. 179 

completed their tonr by waUdng from Geneva to BomA. Dttring 
their stay at the latter city the family incurred severe peooniary 
losses, and it Ibecame necessary for George Mason to earn a 
livelihood. He had already attained some proficiency as an 
amateur painter, and he now endeavoared to turn his ability to 
account by sketching scenes in the Gampagna, but considerable 
time elapsed before he obtained adequate remuneration for his 
wdrk, and meanwhile his private means were visry narrow ; Frederio 
Leighton, then a young man, found him almost starving in Rome, 
during the summer, and rescued him from his sad plight, obtaining 
many commissions for him ; his industry, however, was at length 
rewarded by success. In 1858 he returned to England, and, 
having married, went back to his old home in Staffordshire ; 
encouraged by Leighton he devoted himself to painting rural 
landscape and figure subjects, most of which were studied on 
Weiley Gommcm or its neighbourhood. He began to exhibit at the 
Boyal Academy, where his pictures soon attracted notice. In 1866 
he came to London, and took a house in Hammersmith, removing 
to a larger one there in 1869, when he was elected an A.B.A. 
Two of his best works painted about this period were "The 
Harvest Moon " and " Girls Dancing by the Bea." The latter was 
afterwards etched by Mr. B. W. Macbeth, under the title of '* A 
Pastoral Symphony." Unfortunately Mason did not long enjoy 
his days of prosperity. His health had long been failing, and he 
died on the 22nd October, 1872. 

No. 1388. '' The Oast Shoe:' 

An evening scene on Wetley Common. In the middle distance, 
a rustic lad, wearing a blouse, slouch hat and red neckerchief, leads 
a white horse over a rugged path, carrying in his right hand a shoe, 
which the horse has cast. In the foreground is a sluggish stream 
or pond, with ducks swimming on its surface, enclosed by rush- 
grown banks. On the horizon rises a group of trees, b^ind which 
the sun is setting in a crimson glow. 

On canvas, \\\ in. h, by 1 ft. 1\ in. w, 

Btched by Robert Walker Macbeth, AB.A 

Bzhibited at the Boyal Academy in 1866, and at the Paris Universal 
Bzhibition, 1878. 

Purchased in London, at the iale of Mr. J. Stewart Hodgson's 
Gelleotion, 1893, out of a fund bequeathed by the late Mr. Francis 
01«rke. 

CB.A) M a 



180 MASON— MCLACHLAN. 

No. 1568. Wind on the Wold. 

A young coantry girl, who is holding on her bonnet against a 
wild wind, is driving two calves down a road on a common 
bordered by ragged trees. 

On oanyas, 11^ in. ^. by 1 ft. 9^ in. to. 
Formerly in the posseBsion of Lord Leighton. 

Exhibited at the Boyal Jubilee Exhibition, held in Manchester in 

1887. 

Tate Gift, 1894. 



(Ghaklm), 

No. 1726. Le Ghdteau d^O. 

The ch&teau is seen across the moat at twilight, its high-pitched 
and pointed roofs of slate and tall brown chimneys clearly 
defined against the luminoas grey sky ; the stone walls are relieved 
by rich mouldings and tracery, round the principal doorway and 
windows by decorative patches of brickwork and some few green 
shutters ; a stone palisading separates the inner court from the 
moat, which reflects the whole group of buildings ; a stone 
embankment, half under water, is in the foreground, and some 
trees of the park fill the distance. 

The Ghiteau d'O is an example of French Renaissance archi- 
tecture in Normandy, it is near the village of Mortr^e, and on the 
banks of the river Ome, ten miles north of Alen9on, department 
Ome. 

Water-colour, 1 ft. 6 in. A. by 1 ft. 2 in. tu. 
Exhibited at the Royal Academy in 1899. 
Ohantrey Purchase, 1899. 



Mo&AOBIiAN (Thomas Hope). 

B. 1845. D. 1897. 

Thomas Hope McLachlan was born on March 16th, 1845, at 
Darlington, in the County of Durham. He was educated at 
Merohiston Castle School, Edinburgh, and Trinity CoU^e, 



McLAOHLAN— MERRITT. 181 

CSunbridge, whence, having been bracketed first in the Moral 
Science Tripos, he came up to London and entered as a stndent at 
Lincoln's Lin. Li dne course he was called to the bar, and for 
some years practised in the Courts of Chancery. But the claims 
of art were too urgent with him, and finally relinquishing the law 
he devoted himself altogether to landscape painting. From the 
first his pictures were to be seen on the walls of the Royal 
Academy and the Grosvenor Gallery ; and later, amongsb other 
places, at the New English Art Club, the New Gkdlery, and at the 
Listitute of Painters in Oil Colours, of which last body he was 
a member. The last pictures that he sent for exhibition were 
'*The Shepherdess," a water colour. No. 1215, at the Rojral 
Academy, and a notable oil painting at the New Gallery in 1897. 
He died before either exhibition opened, on the Ist of April, 
1897.» 



No. 1C56- Evening Quiet. 

On a picturesque rocky hill a woman holding a baby in her 
arms is seated guarding a few sheep. Behind, on the right, are 
some straggling trees. Signed, T. Hope McLachlan, 1891. 

On canvas, 1 ft. 10 in. h, by 2 ft. 9^ in. w. 

Bxfaibited at the Listitute of Painters in Oil Colours, 1897. 

Presented in memory of the painter by one hundred and fifty of his 
friends, 1898. 



(Anna Lea). 

No. 1578> Lave Locked Out. 

Love, shown as a little boy, stands pushing at a golden door, 
which, as the title explains, is locked against him. 
Liitialed with the letters A.L.M. in a monogram, and dated '90. 
On canvas, 3 ft. 9| in. h. by 2 ft. 1^ in. to. 
Bzhibited at the Boyal Academy in 1890. 
Ghantrey Purchase, 1890. 



* Preface to the oatalosrae of an exhibition of works by the late Thomas 
Hope MoLaohlan, held at 98, James Street, Bnokingham Qate, S.W., during 
June 1867. Signed, 8. I. 



182 MILLAIS. 

KA&AIS (Bib John Bterett), F.&.A. 

B.1829. D. 1896. 

John Everett Millais was bom on the 8th of June 1829, at 
Bonthampton, where his parents happened to be then staying. 
Their home was in Jersey, where young Millais passed the first 
six years of his childhood. The family then removed to Pinan, 
and while there the child is said to have already displayed extra- 
ordinary aptitude for drawing. 

In 1837 his father and mother came to London, occupying a 
houae ip Gower Street. Under the advice of Sir Kartin Bhee 
(then President of the Boyal Academy), the boy was sent to a 
school of art kept by Heiuy Sass, a portrait painter, at the comer 
of Bloomsbury Street. At the age of nine he had made sufficient 
progress to win a silver medal, awarded by the Society of Arts, and 
only two years later was admitted a student of the Boyal Academy 
Schools. Before he was seventeen he had painted his first subject 
picture, ^^Pizarro seizing the Inca of Peru," which was accepted and 
hung at the Boyal Academy, and in 1847 he gained the Boyal 
Academy gold medal for another work representing " The Tonng 
Men of the tribe of Benjamin seizing their Brides." About the 
same time, he exhibited at Westminster Hall a life-size oil painting, 
illustrating the parable of " The Widow's Mite." In 1848 yoking 
Millais, in conjunction with Bossetti, Mr. Holman Hunt, and 
a few other rising artists, revolted against what they regarded as 
the academicism and conventionality of modem art, and banded 
themselves together as the " Pre-Baphaelite Brotherhood." One 
of their professed objects was to paint Nature with absolute 
fidelity. They based their views on the work of the early Italian 
and flemish masters. 

Millais' earliest pictures, " Ferdinand lured by Ariel," '^ Lorenzo 
and Isabella," "Mariana in the Moated Grange,'* "The Carpenter's 
Shop," and the " Woodman's Daughter," exhibited at the Boyal 
Academy between 1849 and 1851, were painted under these im* 
pulses, and for many years he remained a scrupulous realist, paint- 
ing with extraordinary finish and minute attention to detaiL His 
" A Hugu^ot " and " The Death of Ophelia " (1852), " The Order 
of Belease," and "The Proscribed Boyalist" (1863), "Bescne by 
a Fireman" (1855), " Autumn Leaves "and "Peace Concluded " 



MlLLAt&L M 

(1856) were aeyerely eriticised in certain quarters, bat as warmly 
def^4ed by his admireie, among whom BnsUn waa 
eonspicaeoB. 

la 1853 Millaifi, being then only 24 years of age, was elected an 
Assooiate of the Royal Academy. The excellence of his work had 
rapidly won public favour and it was now warmly appreciated. 
« The Vale of Rest," " The Black Brunswicker," " Trust Me," 
(« The First Sermon," and ^^ The Eve of St. Agnes," not to mention 
■any other pictures, were received with enthusiasm, and in 1863 
he attained the full dignity of a Royal Academician. From that 
time forth his career was, to the last, one of uninterrupted success. 

The patient study of his early years, the accuracy and precision 
to which his hand had been accustomed, enabled him in time to 
attain, by his art, equal truth with less labour. His style gradually 
became broader and more masterful, but it was still distinguished, 
both in colour and effect, by a close adherence to Nature. As a 
young man Millais had from time to time employed his pencil with 
gpreat success as a book illustrator. The ^'ComMll Magazine," 
'* Good Words," and ** Once a Week " abound in woodcuts from his 
designs. He now added to his reputation as a painter in- the field 
of landscape and portraiture. An autumnal scene, entitled " Chill 
Oetober," exhibited in 1871, surprised those who had hitherto only 
known his work in connection with figure subjects. It was followed 
by the well-known pictures, " Flowing to the flea," " Scotch Firs," 
«* The Fringe of the Moor," and " The Bound of Many Waters," 
executed between 1873 and 1878. One of his first exhibited 
portraits showing his later manner, was that of Miss Lehmann 
(now Lady Campbell), painted in 1870. But in after years he 
reoeiTod eoipmissions from a host of distinguished sitters, in- 
cluding Cardinal Newman, the Duchess of Westminster, Loixl 
B^hoonsfield, Tenayson, Sir Henry Thompson, Lord Salisbury, 
Lord Lytton, Lord Shaftesbury, Sir John Fowler, Sir James 
Paget, W. E. Gladstone, and John Bright. The famOy group, 
entitled "Hearts are Trumps," and representing the Misses 
Armstrong^ attracted much attention at the Royal Academy. 

Among the most notable of Millais' subject pictures, in addition 
to those already mentioned, are "The Minuet" (1867), "The 
Boyhood of Sir Walter Raleigh" (1870), "The Knight Errant" 
(1870), " The North-West Passage " (1874), " The Yeoman of the 
Goard" (187«), and the "Princes in the Tower" (1878). In aU, 



184 MILLAIS. 

he is said to have produced 351* oil paintings. In 1855, Millais 
married Eaphemia, daughter of G. Gray, of Bowerswell, KinnouU, 
Perth, by whom he had several children. The honours which fell 
to his share were numerous and well deserved. He was created a 
baronet in 1885. He had preyionsly been made an Officer of the 
Legion of Honour and a Member of the Institnt de France. From 
Oxford he obtained a D.O.L. degree, and GoTemment appointed 
him a trustee of the National Portrait Gtdlery. On the death of 
Lord Leighton Sir John was unanimously elected President of the 
Boyal Academy, but by this time he was in failing health, and he 
unfortunately succumbed to a fatal malady, from which he had 
long suffered, on the 13th of August, 1896. 

No. 1494. T?ie Yeoman of the Ghuard. 

A life-size seated figure of an old soldier, who, decorated with 
maDY service medals, wears the stately and picturesque uniform 
of that ancient corps, familiarly known as the *' Beef -eaters " 
(Buffetiers ?), viz., a full-sleeved scarlet cloth tunic laced with 

§old and black braid, and embroidered on the chest with the 
evice of a rose, shamrock and oak leaves between the letters 
y.R. A frilled white ruffle encircles his neck. On his head is 
the black velvet low-crowoed hat which belongs to the costume. 
He holds a staff in his right hand ; in his left is a folded paper. 
Leaning over the top of a screen in the background are seen 
the heads of three halberds. Signed with the painter's mono- 
gram, and dated 1876. 

On canvas, 4 ft. 7 in. h, by 3 ft. 8 in. to. 

This picture, painted when MiUais' skill had reached its 
zenith, was a favourite with the artist. It became the property 
of his half-sister, Mra. Hodgkinson, who bequeathed it to the 
National Gallery in 1897. It was exhibited at the Boyal 
Academy in 1877. 

The soldier represented was John Oharles Montague, a corppral 
n the 16th Lancers, who served Upwards of twenty years in 
India, distinguishing himself on several occasions. On his retire- 
ment, in 1847, he was appointed a Yeoman of the Guurd. 

No. 1503. Equestrian Portrait (with SfR EDWIN 
LANDSEER). 

A laly is riding on a white horse through an archway into a 
courtyard ; she is dressed in a green velvet riding habit, slashed and 

•* KUlali anl hia Works ' bv M. H. Spielmaaa, 



MILLAIS. 185 

puffed in the fashion of the time of Charles II ; her tan ganotlets 
are lined with red, and there is a red feather in her wide grey hat, 
repeating the bright red of the saddle-cloth ; on her left stands a 
page in an old-gold velvet suit with light blue points and bows, 
and with a ribbon of the same round his black hat, which he 
holds in both his hands. 

Bir Edwin Landseer painted the horse and its accoutrements, 
intending it for an equestrian portrait of Queen Yictoria, but 
this was never carried out, and ultimately the picture was sent 
to Sir John Millais, who painted his daughter in this old riding- 
costume, together with the page, the dog, and the background, and 
called the picture '* Nell Gwjnne." It is also sometimes known as 
" Diana Vernon." 

For signature it has the letters E. L. and the monogram of Sir 
John Everett Millais, with the date, 1882, when it was completed. 

On canvas, 10 ft. 5i in. h. by 7 ft. 7 in. w. 

Presented by an Anonymous Donor, 1897. 

No. 1506. Ophelia. 

** There Is a willow grows aslant a brook. 
That shows his hoar leaves in the glassy stream ; 
There with fantastic sarlaadsdid she oome, 
Of orow-flowers, nettles, daisies, and long pnrples. 
That liberal shepherds give a grosser name, 
Bnt our oold miads do dead-men's fingers oall them : 
There, on the pendent bonghs her coronet weeds 
Olambering to hang, an envions sliver broke ; 
When down her weedy trophies, and herself, 
Fell in the weeuing brook. Her dothes spread wide. 
And, mermaid-^e, awhile thev bore her up : 
Which time, she cfaAnted snatches of old tnnes. 
As one incapable of her own distress. 
Or like a creatnre native and indued 
Unto that element : but long it could not be. 
Till that her garments, heavy with their drink, 
PuU'd the poor wretch from ner melodious lay 
To muddy death.** 

-^Kamlet Act lY., Scene 7. 

Punted on the Ewell or Hogsmill river, near EinflBton. The 
face 18 the face of Miss Siddidl, afterwards the wife of Dante 
Gabriel Rossetti. Signed, 




ilia IS' 



t8^Z 



186 MittAla 

On oaavaB, 2lt. S^in. A. by 8ft. Sin. «?. 

BngxaT6d by James Stephenson. 

Exhibited at the Boyal Academy in 1852 ; at the Paris International 
Bxhlbition in 1865 ; at the GroBYenor Gallery Winter Exhibition in 
1886 ; at the Guildhall hi 1892 ; at the Winter Exhibition of the UojbI 
Academy, 1898. 

Vomnerly in the possession ef Mrs. Fuller Maitland. 

Tate Gift, 1894. 

-" No. U07. The Vale #/ Best. 

The following passage from Buskin's *' Academy Notes " f oir 
1859 giyes a description of the symbolical meaning of this, the 
most poetic of Millais' works : — 

The Bcene is the interior of a convent garden jnat at sunset Two women 
are in the garden, which is illuminated by the light reanaining in the 
western sky, that stood cool and grey in the zenith, while the rigid 
poplars, each like Death's ^Ufted forefinger,* made hars against the red, 
orange, and crimson of the west. The guarding wall of the enclosure is hidden 
by ash and other trees, filling the intervals of the loftier foliage. The rough 
sward is broken here and there by low hillocks of |^vee^ and enoumberedby 
the headstones that stand green and sad in the waning light ; one of the 
women is a novice, or lay sister, who, up to her knees in a grave, is busily and 
vigorously throwing out large spadefuls of earth. Her coif is thrown back 
from her face, which is dull red with stress of labour. . 

'*IJpon the prostrate headstone, taken from the new-made grave, sits an 
elder nun holding a rosary, and with the long black of her robes sweeping the 
dark coarse grass ; her head is towards us, and by its expression we discover 
that she has seen the ooffln-shaped cloud which bangs over the setting snn, 
and stretches a long, heavy bar of purple across a large part of the sky behind. 
She turns towards the east as if looking for the uprising aooording to the 
promise of a star of hope in eternity." 

Signed with the painter's monogram and dated 1858| 




s- f 



On canvas, 3 ft. 4} in. h. by 6 ft. 7 in. to. 

Exhibited at the Eoyal Academy in 1859 ; lit the International 
Exhibition, Kensington, 1862 ; at the Royal Jubilee Exhibition, Man- 
chester, 1887 ; at the Birmingham Art Gallery, 1891 ; at the Guildhall 
Art Gallery, 1892, under the quotation— 

** To where beyond these voices there is petfoe." 

and at the Winter Exhibition of the Boyal Academy of Arts, 1898. 
Until 1886 in the possession of William Graham, Esq. 

Tata Gift, 1894. 



MttLAtS. 18t 

1508. The Knighi Errma. 

"The Order of Enighta Brraat was institiLted to proteet widovi and 
qrphana, aod to snooonr nutidens in distress." 

The Knight, in full armour, is cutting with his long sword the 
thongs that hind a lady to a laree silTer hireh tree. She has 
been stripped of her clothes which lie on the ground at her feet. 
In the distance to the right one of her assailants lies dead, others 
run away over the rocSs ; to the left a crescent moon shines 
through the forest trees. Initialed as in No. 1507 and dated 
1870. 

On oanyas, 6 ft. } in. ^. by 4 ft. 5^ in. w. 

Exhibited at the Royal Academy in 1870, and %% Ihe Q^rosTeiior 
CkOlery in 1886. 

Tftte Gift, 1894. 

1509. The North- West Passage. 

"It might be done and Enfflfbod should do it." 

In a parlour, with a window looking to the sea, sits a weather- 
beaten sea-captain, knitting his brow oyer the stories of the 
search for the North-West Passage, read out to him by his 
daughter, whose caressing hand lies upon his, as if glad that he is 
near her and not away at the frozen North. Bhe sits at his feet 
dressed in white, with a thin rose fichu wrapped round her, ribbons 
of tibe same colour in her brown hair, and a necklace of blue beads 
around her neck. 

On the table before him is a large chart of the polar regions, and 
on 'ttie floor beside him are green log-books of his former voyages; 
by his side at his right hand are his telescope and a class of 
grog. On the wall behind him hangs an engraving of l:dmiral 
Nekon, and a coloured print of a ship in an ice-floe, and the 
national bunting drapes a scrap screen to the right. The model 
for the old seadog was Trelawny, the friend of Byron and Shelley. 
(See Life and Letters of Sir J. E. Millais, ii, p. 50.) Initialed as 
in No. 1507, and dated 1874. 

On oany^ 6 ft. 9^ in. ^. by 7 ft. 8} in. to, 

Etohed by A. Mongin in 1881. 

Bzhibited mi the Boyid Academy in 1874 ; Bzpositiosi UniveneUe, 
Paris, in 1878 ; Gkaiery of the Fine Art Society in 1881 ; arosvenor 
Gallery in 1886 ; Royal Jubilee Exhibition, Manchester, 1887 ; the 
Winter Exhibition of the Royal Academy, 1898. Until 1888 in the 
possession of H. W. F. Bolokow, Esq, 

IVbte Oift, 1894. 



188 MILLAIS. 

No. 1510. Mercy — Saint Bartholomew's Day^ 1572. 

** When the clock of the Palais de Joitice shall soond npoo the great bell, at 
day^break, then each good Catholic mast bind a strip of white linen round his 
arm, and place a fair white cross in his cap."— Orci^ of the Duke of OuUe. 

A dark bearded Catholic warrior, sword in hand, with a cmcifix 
in his cap and a white strip of linen round his arm, is held back by 
a nun, who kneels before him as he rushes out to the massacre 
at the call of the beckoning monk, who stands in the doorway. A 
spray of passion flower lies upon a bench to the left. 

Initialed as in No. 1507, and dated 1886. 
On canvas, 6 ft. | in. h, by 4 ft. 34 in. to. 
Bzhibited at the Boyal Academy in 1887. 
Tate Gift, 1894. 

No. 1563* Saint Stephen. 

"He fell asleep."— -ic*«, VIL, 60. 

The martyred saint is lying on the ground in a narrow rocks 
defile, amongst thistles ; the stones with which he has been slain lie 
around, and the ground and his white robe are stained with his 
blood. Three figures are dimly seen under the shadow of the 
city walls which rise on the right. Some trees grow out of the 
rocks on the left, and between them and the walls is seen the star- 
lit sky. Signed with the painter's monogram and dated 1895. 






On Qanras, 5 ft. h. by 3 ft. 9 in. to. 

Exhibited at the Boyal Academy in 1895 and at the Winter Exhi- 
bition 1898. 

Added by Sir Henry Tate to his Gift made in 1894. 

No. 1564. A Disciple. 

A three-quarter figure, seated, turned to her left, in a 
black garment ; her eyes look heavenwards, and her hands are 
folded on her knees in resignation. Signed at the top, to the 
right, with the monogram as in No. 1563, and dated 1895. 

On oanyas, 4 ft. 1 in. h. by 2 ft. 10} in. to. 

Bzhibited at the Royal Academy in 1896. 

Added by Sir Henry Tate to his Gift made in 1894. 



MILLAI8. 189 

No. US4. Speak ! Speak ! 

A man, in a bed, oovered by a for rug, haa been reading from 
a box of old letters, by the light of a shaded candle ; a Tiaion 
of a beaatifnl woman in white, with jewelled belt, bracelet, and 
tiara, draws the green onrtain at the foot of the bed and looka 
moat earnestly at him witi^ unearthly eyes. The moonlight shinea 
into the room through an open door. He seems to be implorinff 
her lio speak as he sketches his right hand towards her. Signed 
with the painter's monogram as in No. 1563, and dated 1895. 

On oanyas, 6 ft. 6 in. A. by 6 ft. 11 in. w. 

Bzhibited at the Royal Academy in 1896, and at the Winter Uzhi- 
bition, 1898. 

Ghantr^ PnrohaBe, 1896, 



A 



No. 1657. The Order of Release, 1746. 

A Highlander, who has been out in the rebellion of *45 and has 
been wounded and imprisoned, is delivered by an order of release 
which is brought by hu wife. Carrying her baby on her left arm, 
she presents the document to the jailor, who stands with his 
keys in his hand and narrowly scans the paper. The prisoner's 
collie dog jumps up and fawns on him as, overcome with emotion 
at his unexpected release, he lets his head fall on his wife's 
shoulder. 

The following details are of interest in connection with so 
celebrated a picture : — The wife is a portrait of Lady MiUais. The 
order was painted from a genuine one, signed bv Sir Hildegrave 
Turner, when he was Governor of Elizabeth Castle, Jersey, and so 
accurately that the late Colonel Turner, the Governor's son, who 
knew nothing of the matter, recognised his father's signature in 
the picture. The collie was painted from a dog that bdonged to 
Mr. J. C. Hook, B.A. The painting is signed as in No. 1506, and 
dated 1853. 

On canvas, 3 ft. 4^ in. h. by 2 ft. 5 in. 

Bngraved in mezzotint by Samuel Cousins, B.A., in 1856. 

Exhibited at the Royal Academy of Arts in 1853 ; at the Paris 
Exhibition, in the Avenue Montaigne, 1865 ; the Millais Exhibition 
at the Fine Art Society's Gallery, 188^1 ; and at the Winter Exhibition 
of the Boyal Academy, 1898. Formerly in the collection of Mr. James 
Benton. 

Added by Sir Henry Tate, in 1898 to the gift of his oollection made 
in 1894. 



190 MILLAIS— MILLET. 

No. 1C91. The Boyhood of Baleigh. 

A bronied BaOor seated on a log behind a seawall points urith out- 
stretched right ann to the horizon, and tells tales of the western 
seas to two boys seated on the ground facing him ; one with his 
bands clasped round his knees is dressed in green, the other (»roflB- 
legged, resting his chin on his fingers, is in bhiok. The sailor wears 
a wide-brimmed hat, white shirt, and wide red breeches ; behind 
him are an anchor, bright-plumaged tropical birds, and a baskst 
trimmed witii feathers. On the ground to the left is an old- 
fashioned toy ship. Signed with the monogram as in No. 1507, 
and dated 1870. 

On canTtis, 3 ft. 11) in. A. by 4 ft. d in. to. 

Etched by Herbert Dioksee. 

Presented in memory of Sir Henry Tate by his wifid, 1900. 

No. 1807. A Maid offering a Basket of Fruit to a 
Cavalier. 

A cavalier dressed in a red uniform sits at table with two 
companions, he turns round to a maid on his left who offers him 
some fruit and chucks her under the chin ; at her feet is a King 
Charles spaniel. Through the doorway is seen a road and a 
horseman riding aWay. Signed and dated, 1849. 

On panel, 6 in. A. by 4) in. w. 

Bequeathed by Mr. Henry Yaughan in 1900. 

No. 1808. Charles L and his son in the Studio of Van 
Dyck. 

The Kin| ih black sits on a red chair to the left, his son in blue 
stands besiae his knee, and a King Charles spaniel sleeps at his 
feet. Tan Dyck works at a half length portrait of the King tiiat is 
on his easel. Signed and dated, 1849. 

On panel, 6i in. h. by 4^ in. w. 
Bequeathed by Mr. Henry Yaughan in 1900. 



MlIi&BT (FSANGIS DAVId). 

No. 1811. Betu/een Two Fires. 

At an oak table with i^ white cloth, in a bright^ dean parlour, 
iits a Puritan gentleman, in black cloak, a wide, white collar, and a 



MILLET— MOORE. 191 

steeple-erown hat) before a substantial meal. His attention Is 
diyided between bis dinner, for which he is about to return 
thanks, and the two damsels—one in buff and blue, the other in 

So^-gi^en — ^who have set it before him. An inm twck with 
J clay pipes stands on a table under the window, and abovi 
the room Mre other objects appropriate to an inn parlour. Holly 
and iyy decorate the iron duuidelier, and suffgest Christmas-time. 
Signed, F. I>. Millet. 

On oaBTBS, 8 ftk 4i ijL A. by S ft. to. 

Bxhibited at the Boyal Academy in 1893. 

Chantrey Puiehase^ 1812% 



(Albbbt). 
B.1841. D. 1893. 

Albert M€K>re was born <m September 4, 1841 ; he was the 
youhgeBt son of William Moore of York who was knoWn through- 
out the county as an artist and teacher of drawing and painting ; 
the best |>roof s of his gifts as a teachisr are the high and diverse 
excellences of his three famous sons, John Gollingham, Henry, 
and Albert ; the first two excelling in power and vigour, the 
last as a figure painter of extreme delicacy and beauty. 

Albert Moore studied under his father, and for a f eW months 
at the York School of Design, and the Boyal Academy Schools; 
he sent to London, in the year 1857, at the early age of 
16 years, two studied from Nature, which were exhibited at 
the Boyal Academy and were named "Goldfindi" and "Woodcock." 
His first oil painting, exhibited at the Boyal Academy in 1859| 
was called " A Study.'' During the next few years his work gave 
evidence of a peculiarly dramatic gift of composition, in pictures 
tak«i fr<»Ba the Old Testament history ; his seeond picture^ of 
the year 1861, bore the text 

*^1ie mother of Siflera looked out at a window, and cried thM>iiffh the latfcioA 
Why is his efaariot bo long in coming f why tarry the wheels of h£i chariots ? " 

He exhil»ted in 1861, '* Elijah Bunning to Jezreel before 
Ahab's Chariot." His «'EUjah's Sacrifice," of the year 1865, 
raised still higher his reputation, but that same year he exhilnted 
a i»ctare of an ^attirely dil^er^it style, called ^^ The Marble Seat," 
^e first of those decoratire pictures of beautif nl/f eras of a large 



m 1£0()HK 

ftieidian type, clothed i^ delicate colour hannonles, wliich he spent 
lUl his futare yeAts in prodaciiig. Sttch were "Apfioots*' and 
^* Pomegranates/' both of lS66y and "The Quartette/' of 1869, a 
company of musicians in semi-Greek attire, sitting quietly on a 
marble seat, with their viols in their hands or on the riielf behind. 
In 1889 Albert Moore was elected an Associate of the Royal 
Watercolour Society, and exhibited at their Gallery the water 
colour, now m the South Kensington Museum, called " The Open 
Book." He died on the 26th day of September, in the year 189S 
of an inourable disease from which he had long suffered.* 

No. 1549. Blo88oma. 

A decorative panel. A classic female figure in pale rose-coloured 
drapery, with her golden hair wrapped in a black head-dress, and tied 
with lemon-coloured ribbon, stands before a mass of blossom seen 
through drawn curtains of a darker rose colour ; she appears to 
have risen from a couch of inlaid wood, covered by a thm white 
e«verlet which falls to the black floor, and partly hides a sulphur- 
Goloured marguerite ; in front a spray of the blossom lies on the red 
rug. A red scallop shell decorates the white drapery of the couch 
to the right, and bears the Greek anthemion, the painter's signature. 

On canvas, 4 ft. 9^ in. h, by 1 ft. 5| in. w. 

Painted and exhibited at the Grosvenor Gallery in the year 1881 • 

Tate Gift, 1894. 



MOOaS (Henrt), &.A. 

B. 1831. D. 1895. 

Henry Moore was bom in the city of York in the year 1831, one 
of the sons of William Moore and of Sarah Collingham, his wife, 
who was related to William Hilton, B.A., sometime Keeper of the 
Boyal Academy. His first Art training was in his father's house, 
and there he remained and worked for some years, with his elder 
brother, John Collingham Moore (a good painter of Boman land- 
scape and of charming portraits of children), a sister, and Albert 
Moore, his younger brother. Henry Moore came to London with 



* The Athen4Kum,'iS9$t the Magcaine of Art, and infonnatioiL kindly sappUed 
by A. L. BaldiY, Eeq. 



MOORE— MULLER. 193 

his elder brother, and was admitted to the Royal Academy schoolv 
ia the year 1853, and that same year, sufficiently advanced by ishe 
teaching of his father, he exhibited at the fioyal Academy **GIen 
Qnnie," and <' Castle Town of Braemar," 1854 ; his sea pictures 
becoming more frequent and landscapes more rare' in the fntore 
years. La 1886 he was elected an Associate of the Royal Academy 
and in 1893 a full Academician. His energy was boundless, for 
besides all the pictures exhibited at the Royal Academy, fae exhibited 
regularly at the Portland Gallery untU it closed in 1861, the Royal 
British Artists, of which he was some time a member, the British 
Institutioof, the Dudley Gallery, the Royal Society of Painters in 
Water Colours, of which he became an Associate Exhibitor in 
1876, and a full member in 1880. Altogether some 600 exhibited 
pictures bear his name. His " Clearing After Rain " obtained the 
Grand Prix and the "Legion of Honour'' at the Expoisition 
Umverselle, held at Paris in 1889. 

Towards the end of his active life his robust health waa ttiuch 
weakened by five attacks of influenza, and the result of an accident 
which broke both his wrists. Li the spring of 1895 he with, difficulty 
finished his work for the exhibitions. ^He died at Margate, of 
paralysis, in June.* 

No. 1604. Catspaws Off' the Land. 

Under a rocky coast, two fislung boats are sailing in company ; 
their brown tanned sails are reflected along with the light yellow 
clouds in the dark blue sea. 

On cauTas, 2 ft. Hi in. A. by 4 ft. 5| in. w^ 
Exhibited at the Boyal Academy in 1885. 
Ohantrey Purchase, 1885. 



(William J.). 

B. 1812. D. 1845. 

WUliam J. M&ller was bom of a German father at Bristol, in 
1812 ; his father was Curator of the Bristol Museum. Miiller 
became a pupil of his townsman, J. B. Pyne, the landscape 



* The- Atherueufih 1895, the Magazine of Art, and the^ Bovat Academy 
CcUaloffues, > ' 

(BX) N 



194 MULLER. 

painter (see page 231), and displayed his own ability for that 
department of the art at an early age ; he found a generous 

patron in Acraman of Bristol. 

In 1833 and 1834, he made a first tour upon the continent of 
Europe, and in 1838 started upon a long and arduous journey 
through Greece and Egypt, ascending the Nile beyond the 
First Cataract; he settled in London after*his return in 1889« 
In 1843 he accompanied Sir Charles Fellowes to Lyda ; he 
returned to London in the following year. Many sketdits and 
pictures of Oriental manners and scenery were the result of these 
journeys ; five were exhibited at the Boyal Academy, and two at 
the British Institution, in 1845 ; but Mtiller did not long survive 
to enjoy his growing reputation ; he died at Bristol, of disease of 
the heart, on the 8th of September of that year, at the early age 
of thirty-three. He exhibited only sixteen pictures at the Boyal 
Academy. His sketches and pictures, which were sold at Measn. 
Christie and Manson's, in the spring of 1846, realised 4,3602.* 

No. 379 > Eastern Landscape* 

Two Lycian peasants are seated on the rocks in the foreground ; 
Mount Massicytus is seen in the distance. 

On wood, 1 ft. 2 in. A. by 1 ft. 8| in. w. 
Painted in 1889. 
Bngraved by J. Consen. 
Yemon Collection, 1847. 

No. 1040. Landscape^ a River Scene. 

Apparently in Wales or Scotland, showing a mountain torrent 
flowing over rocky boulders, with dark hills in the distance, oyer 
winch stormy clouds are drifting. 

On canvas, 1 ft. 8^ in. A. by 2 ft. 6 in. to. 

Purchased in 1878 from Mr. W. Fuller Maitland, M.P., out of the 
Lewis Fund. 

No. 1463- A Street in Cairo. 

Towards the centre of the foreground a group of men, clad in 
Oriental dress, and standing on a carpet, appear to converse 

* Some of MtUler'B letters, relating to his eastern tours and other matters 
were published in the Art union Journal for the years 1844 and 184& 



MULLEK. 195 

with a white-robed Arab Chief, while dose to them a negro 
serrant, kneeling, offers a cup of coffee to a seated personage. 
In the rear towiuxts the right other figures sit or stand nnder an 
awning of striped doth. On the left a native merchant sits cross- 
legged on his stalL In the background are several old and 
picturesqne buildings, above the roofs of which rises a machicolated 
tower of Romanesque character, beyond which is seen a dome. 
Deep blue sky with cloud cumuli apparently illuminated by sunset. 

On canvas, 1 ft. 11} in. A. by 2 ft. 11} in. w. 

From the collection of the late Sir Josefdi Weston, M.P., Olifton, 
BristoL 
Pmenbed in 1895 by Lady Weston. 

No. 1474. Dredging on the Medway. 

Towards the right of the picture, a dredger is anchored in 
mid-stream. Alongside of the machine a sailing-barge, loaded with 
silt, is preparing to get under weigh, while from the left of the 
river a shore boat, manned by two sailors, makes for the vessel 
through rough water. In the distance is seen low-lying land with 
trees and a church tower. Stormy sky with large cloud cumuli 
rising from the horizon. 
On canvas, 2 ft. 11| in. A. by 5 ft. 11 in. w. 
Presented in 1896 by Mr. Holbrook Gkuikell of Liverpool. 

No. 1565* Carnarvon Cattle. 

The castle is seen through the golden mist of a summer moming ; 
on the river in front of it are fishing boats and wherries ; on l£e 
right some sheep, a donkey, a goat, and a bullock cart ; a woman 
and a child trudge along the road. At the roadside are some rough 
stones and steps where the signature and date, 1837, are seen. 

On canvas, 3 ft. 4} in. A. by 4 ft. 11 in. w. 

Formerly in the Collection of Jamee Price, Esq., of Barccmbe 
Paignton, South Devon, and before that in the Manley Hall CoUeotion* 
Tate Oift, 1894. 

No. 17£8> A Lakeside Scene. 

On the left of the lake is a tall tower with a conical roof, with 
some cottages and boats at the foot of it ; in the distance ard 
mountains and precipitous banks to the lake ; in the foreground 
nets are spread out to dry, and a woman in a red jacket and a man 
in brown are mending them. 

Water-colour, 9 in. A. by 1 ft. to. 
Bequeathed by Mr. Leonard S. Pratten. 

(B.A.) N 2 



136 MULREADY. 



(William), ^.A,. 

Bin^e Sir Dairid Wilkie the most distinguisfaed of British genre 
painters was William Molready ; he was bom at Ennis, in the 
Oonnty Glare, Ireland, on the 1st of April, 1786 ; his father was a: 
leather breeches maker. He came early to London, and entered in 
ISPO as a student into the Boyal Academy^ In 1803 he married 
the sister of John Yarley, the water-colour painter. In 1804 he' 
exhibited three pictures in the Boyal Aoademy^-two views of 
Kirkstall Abbey, and a cottage at Knaresborongh,, Yorkshire ; he 
was then only eighteen years old ; other cottages and Yorkshire 
subjects f oUowed in 1805 and 1806. In 1809 was exhibited the 
picture in this collection No. 394, then called "Betuming from 
the Alehouse," showing that already, at the earty age of twenty-' 
thtee, he was a perfect master in that class of work for which he 
has been so long eminent, 

Mulready was elected an associate of the Boyal Academy in 
1815, and an academician in 1816, both elections taking place 
between the exhibitions of those years, so that his name never 
appeared in the catalogue as an associate. His picture of 1815 
was "Idle Boys;" that of 1816, "The Fight interrupted," now 
in the Sheepshanks OoUection. He exhibited altogether, includ- 
ing, a few drawings, seventy-eight works at the Boyal Academy , 
of which fifteen are now in the Sheepshanks Collection at South 
Kensington. During the sixty years from 1804 until his death 
Mulready^s name was absent jhrom the Boyal Academy Catalogue 
fifteen times. He generally exhibited but one picture in the year, 
but in 1844 he had five in the exhibition, his greatest number in 
one year. The exhibition of his pictures, drawings, and sketches, 
which took place at the Society of Arts in 1848J contained 214 
works, but the majority of these were sketches ; there were only 
forty-four pictures and three drawings which had been exhibited 
at the Boyal Academy; His pictures do not Average two a 
year. 

Aniong his most. adi;nirable works may be mentioned :— «" Fair 
Time," 1809, " The Last in," " Crossing the Ford," " The Fight ; 
interrupted," " The Butt," " Giving a Bite," " First Love," " The 
Seven Ages," "Choosing the Wedding Qown/! "The Wolf, wd 

2/1 . -V 



the Lamb," <<The Whistonian ,Oon<irov«nyv*' and Uiii *'Tdjr 
SeUer/' lSe2,im last exhibited work. Mnlready died .01% tb^ Jth 
of July, 1863, and was bnned at Keoaal Green. With the -ezoepo 
tion perhaps of some slight de^rioration in his colouring, whi^bof 
late years was obtrosively purple, be was in the enjoyment of i;he 
full powers of his greai abilities for upwards of half a century. 
His health also seems to have been remaricable ; he was drawing 
in the Life School of the Boyal Academy on the eyening of the 
5th of July, only two days before his death. He was distinguished 
for the excellence of his life studies, three of which, presented by 
the Society of Arts, are in the Gallery. He was one of the 
founders and most active members of the *' Society for the Manage- 
ment and Distribution of the Artists* Fund,'*^ of which he held the 
office of President as early as 1815, and at inrhoee meetings he wlui 
never absent for seventeen years. 

No. 393. The Last In. 

A truant boy has arrived late at the village school, and is standing 
with a sheepish expression at the door ; while the master, m 
irony, rises, takes oft his hat, and makes the boy a humble bow. 

. On wood, 2 ft. i in. A. by 2 ft. 6 in. to. 
Bngraved by J. T. Smyth. 
Exhibited at the Boyal Academy in 1835. 
Yemon Oolleotion, 1847. 

No. 394to Fair Time. 

Two tipsy men are represented as returning from the fair ; one 
is giving lialf pence to some boys ; the other is dancing before 
the door of a cottage to the right. 

Originally exhibited at the Boyal Academy in 1809 ; but the present 
baokipround was added in 1840, when the picture was again exhibited 
at the Boyal Academy. 

On canvas, 2 ft. 7 in. A. by 2 ft. 2 in. to. 

Engraved by H. Bourne. 

Yemon Collection, 1847. 

* See Pye's Patronage of Britiih Art, 



198 MULBEADY. 

No. 1038. A Snow Scene. 

A group of rustios is in the foreground of the picture. Behind 
is the distant view of an English ^village in mid-winter. 

On panel, \\\ in. A. by 1 ft 4} in. 10. 

Purohaaed in 1878 from Mr. W. Fuller Maitland, M.P., out of the 
Lewis Fund. 

No. 1181« A Sea-shore Scene. 

On the beaoh is a fishing boat, with two men in it. |Nearerto the 
foreground are some boys bathing. The distance, looking sea- 
wards, is shrouded in fog, through which a vessel may be discerned. 

On oauTas, 1 ft. 2| in. A. by 1 ft. 7i in. w. 
Bequeathed by Mrs. Elizabeth Yaughan in 1886. 

No. 1743. Academy Study. 

A boy, standing, with his right arm raised. Inscribed— KLA. 
Oct. 23-1857. 28 

Pen and ink, 1 ft. 7\ in. h, by 8| in. to. 
Presented by the Society of Arts. 

No. 1744. Academy Study. 

A man, seated, in profile, with his head turned away. Signed 
with initials and inscribed, Boyal Academy, London, March 1846. 
Betouched 1857. 

Bed and black chalk on white paper, 1 ft, 7} in. A. by 1 ft. 2 in. w. 
Presented by the Society of Arts. 

No. 1745. Academy Study. 

A woman, seated ; two doves, lightly drawn in, feed from her 
right hand. Signed with initials and inscribed, Mon. 8 to Sat. 13, 
Aug. 1842. 

Bed and black chalk on white paper, 1 ft. 8 in. A. by 1 ft. 2 in. to. 
Presented by the Society of Arts. 

No. 1797. An Interior ^ with a Woman and her Child. 

A sketch for the picture in Buckingham Palace. A woman sits 
sewing in the window of a dark room with a cradle at her feet, at 
sunset. 

On panel, Sf in. h, by 2| in. %o, 

Engiaved in the " Keepsake.*' 

Bequeathed by Mr. Henry Yaughan in 1900. 



MURRAY— NEWTON. 199 



(David), R-A. 

No. 1614. My Love has Qcne a Sailing. 

Ontside a small haven in a rocky coast fleets of fishing boats 
are sailing on a blue sea, their orange sails lit by the settinff 
son. A young woman is seated on a rock in the foregroond 
looking ont to the departing boats. A hilly coast bounds the 
horizon across the sea. Soft snmmer clouds float in the evening 
sky. Fainted at Tarbert, Loch Fyne. Signed, David Mubbat. 

On canvas, 3 ft. S^ in. A. by 5 ft. to. 

Bzhibited at the Boyal Scottish Academy in 18S8, and at the Bpyal 
Academy in 1884. 

Ohantzey Purchase, 1884. 

No. 1926. In tlie Country of ConsUible. 

A group of willows by a lock on the Stonr, near East Berg- 
holt, in Suffolk, where Constable was born, and where he delightMl 
to paint. The familiar square tower of Sheringham Church is seen 
in the distance : a canal boat waits her turn at the lock gates on 
the right ; a gleam of sunshine from a changeable sky fiedls on 
the tow-path and the rich water-meadows in ttie middle distance. 
Signed, David Murray, 1903. 

On canvas, 4 ft. A. by 6 ft to, 
Btohed by Mr. 0. 0. Murray. 
Bxhibited at the Royal Academy in 1903. 
Ohantrey Purchase, 1903. 



ratfka 



WBWTOIf (Gilbert Stuart), 
B. 1794. D. 1835; 

m 

Gilbert Stuart Newton was bom in 1794, at Halifax, in Nova 
Scotia, and was the pupil of his uncle, Gilbert Stuart, at Boston; 
he came to England about the year 1818, and having first visited 
Italy, became a student of the Boyal Academy of Arts in 
London. He first painted portraits, but his snuill figure subjects 
Boon attracted notice ; some were engraved in the Literary Souvenir, 
He was elected an Associate of the Academy in 1828. In 1832 



200 / NEWTON— NIOOL.:: 

he visited his native country, and manied there, and in thia 
year he became a member of the Boyal Academy, bat the 
picture exhibited in the following year, ^' Abelard in His StDdy," 
was his last work. He was afiUcted with aberration of mind 
and died in Chdsea, at the early age of forty, Angnst 5, 
18B5. His wife and child returned to America only a few 
months before his death. One of Newton's principal works, 
''Oaptain Macheath," exhibited in 1826, was purchased by the 
Marquis of Lansdowne f mr 600 gnineas. He was laborious and 
fastidious in his execution. He exhibited twenty-fleven works at 
tike Boyal Academy. 

No. 353* Torich and the Chrisette. 

The interior of a hosier's shop, Yorick is purchasing gloves, but 
^ they were all too large; the beautiful grisette measured them one 
by one across my hand, it would not alter the dimensions." — 
Sterne's Sentimental Journey. 

On canvas, 2 ft. 5^ in. h, by 1 ft. 10} in. w. 
Engraved by W. Watt, and by H. Bonme. 
Exhibited at the Boyal Academy in 1830. 
Yemon Golleotion, 1847. 

No. 354. The Window. 

Exhibited at the British Institution in 1829. 

On wood, 15 in. h, by 10} in. to. 

Engraved by G. T. Boo, B.A., and by J. Stephenson. 

Yemon Collection, 1847. 



XrZCO& (Ebskine), A.A.A. 
B. 1826. D. 1904. 

Erskine Nicol was born at Leith in 1825. He studied art at the 
Trustees' Academy, Edinburgh, under Sir William Allan and 
Thomas Duncan. In the year 1846, he went to Ireland, where he 
remained some three or four years ; most of his subsequent 
pictures treated of Irish subjects. Nicol afterwards returned to 
Edinburgh and became a member of the Boyal Scottish Academy. 



NIOOL— NISBET. 201 

In 1862 he removed to London and after that date oontribated 
regularly to the Exhibitions of the Boyal Academy, of which 
body he was elected an Associate in June, 1866. Some of his 
exhibited pictures were, " Notice to Quit/' 1862 ; '^ Benewal of 
the Lease refused/' 1863 ; '' Waiting for the train," 1864 ; 
*'A Deputation," 1865; ''Both Puzsled," 1866; "A Oonntry 
Booking Office," 1867 ; " Waiting at the Gross-roaicls," 1868; and 
^'Interviewing their Member," 1879. Nicol entered the retired 
list of the Boyal Academy in 1885 owing to ill health ; he died 
in 1904*'. 

No, 1537. Wayside Prayer. 

A group of figures, among whom is an old man at prayer 
eountmg nis beads, are grouped under a tree by a roadside. On 
the 1^ is an enclosed graveyard. Signed, E. Nicol, /52. 

On canvas, 1 ft. 3^ in. A. by 2 ft. If in. to, 
Tate aift, 1894. 

No. 1538. The Emigrants. 

On the platform of a railway station a countryman and his wife 
are seated waiting for a train with their scant luggage by their 
side ; behind ure an old roan counting his change, and other ligures. 
Signed, E. Niool, Bi(.A., 1864. 

On canvas, 1 ft. 6 in. A. by 1 ft. If in. w. 

There is a similar picture in the Mappin Art Gallery, Sheffieldi 2 ft. 
5 in. Ah by 1 It. 10 in. to. 

Tate Gift, 1894. 



(BOBEBT BUCHAN). 

No. 1711> Evening Stillnesa. 

A grassy plain by a slowly moving stream stretches away to the 
low hills on the right ; on the left a few red-roofed cotti^es and 
a windmill are seen against the after-glow. Signed, B. B. Nisbet, 
1890. 

Water-colour, 1 ft. 7 in. ^. by 2 ft 6} in. to. 
Exhibited at the Boyal Academy in 1890. 
Chantry Purohaae, 1890. 



* Men and Women of the Time. 



202 NORTH— OROHARDSON. 

MOATB (John William), A.m.A. 
No. 1607. The Winter Sun. 

** Bnt now sad winter welked hath the day, 
And PhoBbns, weary of his y earlv task. 
Ynstabled hath his steeds in lowly lay. 

—Ednwrnd Spenser. 

In the f oresroand are two bent oak saplinjn standing amidst 
bracken, and backed by a thin wood of leafTees trees, through 
which the winter sun is shining. 

On canvas, 2 ft. 2| in. h. by 3ft. 2i in. to. 
Exhibited at the Boyal Academy in 1891. 
Ohantr^ Purchase, 1891. 



O&CBAaDSON (Sir William Quilleb), R.A. 
No. 1B19. Her First Dance. 

A young lady in the dress of the early part of the last century is 
staniung up with much diffidence to dance a minuet in a ball-room 
with a young man who, with a great air of self-confidence, is 
attitudinising opposite to her. To the right and left are groups 
of people looking on. In the background are two musicians, one 
seated at a spmet, the other playing on a kit. Signed on the 
polished wood floor to the right, W. Q. Orchardson, 1884. 

On canvas, 3 ft. 4 in. h, by 4 ft. 6^ in. w. 

Exhibited at a special Exhibition in the King Street G-alleries, the 
Royal Jubilee Exhibition at Manchester, in 1887, and at the " Exposition 
Universelle," Paris, 1889. 

Tate Gift, 1894. 

No. 1520. The First Cloud. 

■* It is the little rift within the late 
That by-and-by may make the music mute.'* 

A handsome lady, in a white satin evening dress, walks haughtily 
away through the columned opening of a large drawing-room. 
Her husband, in evening dress, stands gloomily upon the ru^^ with 
hands in his pockets and his back to the fire. A rosy light is cast 



ORCHARDSON. 203 

OTer ererything by the lamp on the table near him. Signed, 1887, 
W. Q. Orchar£on. 

A similar picture, now in ATustralia, of which this is a replica, was 
exhibited at the Boyal Academy in 1887. 

On canvas, 2 ft. Sf in. A. by 8 ft. 11| in. to. 
Etched by P. A. Mass4 in 1893. 
Tate Gift, 1894. 

No. 15£1>* Her Mother* s Voice. 

** upon his widowed heart it falls 
Echoing a hallowed time." 

In an arm-chair by a tea table, a gentleman is seated, with a news- 
paper open on his knees, listening with a rapt expression to the 
singing of his daughter, who is seated at a gprand piano, while a 
▼onng man turns over the leaves of the music. A large window 
looking out into a conservatory, in front of which is a b'ffhted lamp^ 
fills most of the background. Tea is prepared before the lamp. 

On canvas, 3 ft. 4 in. A. by 4 ft. 10} in. to. 

Exhibited at the Boyal Academy in 1883) and at the OorpoxatioD 
of London Art Gallery in 1894, with these lines in the catalogue. 



** Bat, O ! for the toaoh of a vanished hand 
And the sonnd of a voice that is still.** 



Tate Gift, 1894. 



No. 1601. Napoleon on board the '^ Bellerophon!^ 

On the quarter-deck of the Bellerophon the deposed Emperor 
stonds alone in the familiar drab overcoat and cocked-hat, looking 
gloomily across the sea to the land which he is leaving as an exile. 
Behind him, relieved against the white of the main-sail, stand & 
group of liis staff with various expressions of distress and 
sympathy. A sailor-boy is leaning on the quarter-deck rail, and 
on the deck below are seen two midshipmen conversing. 

On canvas, 5 ft. 5 in. h. by 8 ft. 2 in. w. 

Exhibited at the Boyal Academy in 1880. 

Ohantrey Purchase, 1880, 



a04 OSBORNE—PARSONS. 



(Walter)* 

B. 1860. D. 1903. 

Walter Osborne was educated at Bathmines School, in Dublin, 
and got his art training chiefly in Antwerp, but first, probably, 
in Dublin under his father, William Osborne, B.H.A., who ;waa 
a popular animal painter. Walter Osborne's more important 
work was in landscape and street scenes with figures. He prac- 
tised portrait painting principally to assist his father and mother. 
In his early years he painted much in Normandy and Brittany, 
and afterwards in Berkshire, Sussex, Worcestershire, and at Bye. 
In later years, however, he lived in Dublin, and some of his most 
characteristic work illustrates the life of the poor in that dty 
and the scenery of the neighbouring coast. 

No. 1712. L%fe in the Streets ; Hard TimeB. 

In an old Dublin Street ;near Saint Patrick's Cathedral a man 
. with a blue apron sits smoking a clay-pipe on an old box in the 
gutter in charge of his barrow of oranges and apples ; not- 
withstanding the wet and slush, the people gather round an old 
woman's staJl of earthenware, jugs, and teapots. Snow is on the 
roofs and awnings of the houses and shops, and a church tower is 
seen against the sky which is clearing. Signed, WALTER 
OSBOBNE. 

Pastel, 1 ft. 10 in. h. by 1 ft. 2 in. to. 
Exhibited at the Boyal Academy in 1892. 
Chantrey Purchase, 1892. 



PAaSQNS (Alfbed), A.R.A. 
No. 1589. " WTien Nature painted all things gay. ^* 

A country lad, who is making a whistle by peeling a stick, is 
fleated by a little stream that trickles through a blossommg 
orchard, while he tends his sheep and lambs that graze and sport 
junong the buttercups. Signed, Alfred Parsons. 

On canvas, 3 ft. 5| in. ^. by 4 ft. 11^ in. to. 
Exhibited at the Boyal Academy in 1887. 
Ohantrey Purchase, 1887. 



PABTON-^l^laGBAM. 20S 



(feiRNKST). 

19ZBm The Waning of the Tear. 

A silTer birch sheds its golden leaves on to the yellow fern,* 
growing beside a atverj pool ; beyond is a sonny hill side veiled 
in the mists of antmnn. Signed, Ernest Pabton, 1879. 

On oanvae, 6 ft. 11| in. A. by 4 ft. 8| in. to. 

Exhibited at the Boyal Academy in 1879. 

CJhantrey Pnrohaee, 1879. 

PBAOOOH. (Ralph). 

No. 1672. Ethel 

A young girl, dressed in black, with golden hair f aUing over her 
shoulders, is seated in a pensive attitude upon a wooden stool 
placed against carved oak panelling. Signed, Balph Peacock. 

On canvas, 4 ft. S^ in. ^. by 2 ft. 4 J in. w, 
Bzhibited at the Boyal Academy in 1898. 
Ohantrey Ptirchase, 1898. 



" H 



No. 1772. The Sisters. 

A lady and a girl seated side by side, the elder sister, who is- 
dressedi in a mauve blouse and black skirt, reads from an opeft 
book with clasps and gilt edges ; the younger, with wavy auburn, 
hair, listens to her, her hands are clasped on her knees, she wears 
a grey dress and looks straight out of the picture. Signed, Balph 
Peacock, 1900. 

On canvas, 4 ft. 2| in. A. by 2 ft. 11 in. w. 
Presented by Mr, B. Peacock in 1900. 



(Henbt Alfbed)^ A.A.A. 
No. 1796. Ignis Fatuus. 

A woman sits on a throne, her right hand supporting her head ; 
ahd is forsaken, like the broken bow at his feet, by the man, to her 
right, in a cloak and helmet, who stretches up his arms above her 
towards eight human heads with wings of birds and bats, chimeraa 
of his ideals, imaginations, and desires. Inscribed at the foot of the 
throne, HENBY PEGBAM, 1889. 

BxcmMf. high relief. Circular, 1 ft. 8 in. in diameter. 
Bzhibited at the Boyal Academy, 1889. _ 
Oluuitrey Purchase, 1889. 



206 PEQRAM— PETTIB. 

No. 1945. Sibylla Fatidica. 

A marble group repreBentinff an old sibyl in a hooded cloak 
gazing into a crystal globe, and reading the future to a woman 
seated beside her, who has fallen across her knees in despair at 
the decree of the Fates. Round the base are the twelve signs of 
the Zodiac. Signed Henry Pegram, 1904. 

Of bianco duro marble 5 ft. h., on a base of verde mare marble. 

Ghantrey Purchase, 1904. 



>a^« 



(John), 

B. 1839. D. 1893. 

John Pettie was bom in the City of Edinburgh on the 17th day 
of March in the year 1839. At the age of 16 he began to study 
in the Trustees' Academy of that City, and presently entered 
the Life School of the Royal Scottish Academy, where he worked 
raider Robert Scott Lauder, R.S.A., and John Ballantyne, R.S.A. ; 
with William Quiller Orchardson, John MacWhirter, and Peter 
Graham as fellow students. His work is an example of that skill 
i» colour and finesse of brush work which has been a tradition In 
one section of the Scottish School of Painting from the days of 

WiUrie. 

John Pettie developed rapidly, and first exhibited in the Scottish 
Academy in the year 1859, and the 19th of his age, a picture called 
<< The Prison Pet." In London he began his series of 130 exhibits 
at the Royal Academy with " The Armourers" in 1860. In 1861 
his "What d'ye lack, madam? what d*ye lack?" a mercer's 
apprentice standing before his master's booth in mediaeval Fleet 
Street, crying his wares, was a most successful little picture, and 
led to his joining the colony of Scottish artists in London. He 
was elected an Associate of the Royal Academy in 1866 ; and in 
1874 a full Academician. He died suddenly early in the year 1893.* 

1S82. The Vigil. 

A newly created knight in the robes of his election kneels at 
the high altar of a church, keeping his vigil preparatory to a lif o 

• ** The Athenaum " 1888, ** The Magazine of Art," and the Boval Aoadflimy 
Oatalognen 



PETTIE— PHILIP. 207 

of knight-errantiy. His annour, dedicated to the servioe of 
chiyalrj, lies on the step of the altar before him. Signed on the 
marble base of the altar, J. Pettie. 

On canvas, 3 ft. 9 in. A. by 5 ft. 6 in. ti). 

Exhibited at the Boyal Academy in 1884. 

Chantrey PnrchaBe, 1884. 



(John), &.A. 
B. 1817. D. 1867.' 

John Philip was bom in Aberdeen on April 19, 1817. He 
was apprenticed early in life to a house-painter and decorator ; 
he made his first effort in art by copying a portrait of William 
Wallace, from a sign-board hanging over the way. A local 
portrait-painter, named Forbes, is said to have given him some 
instruction, but in the year 1834 he went to London as a 
stow-away on board a brig belonging to a friend of his father's ; 
in London he was kept hard at work, but managed to visit the 
Royal Academy Exhibition at Somerset House, when he attracted 
fche notice of Major Pryse Gordon, at whose recommendation, 
Lord Panmure generously placed the boy as pupil to T. M. Joy. 
He entered the Royal Academy Schools in the year 1837 and ex- 
hibited there, in the year 1839, a picture of **A Moor," and a 
portrait. Li 1840 he exhibited his first subject picture, " Tasso in 
Disguise, Relating his Persecutions to his Sister." That same year 
he returned to Aberdeen, wnere he was employed in painting 
portraits. He made a sketch portrait of J. E. Millais in 1843, 
which was in the liands of T. O. Barlow, R.A. Again in London 
in 1846, he exhibited "A Presbyterian Catechising" in 1847. 
Li 1851 he paid the first of his many visits to Spain ; he stayed 
at Seville and painted many pictures, rich in colour and character, 
earning for himself the nickname of *' Spanish Philip." << The 
Spanish Gipsy Mother " was purchased by Queen Yictoria, on the 
recommendation of Sir Edwin Landseer. '*The Letter- Writer " 
was painted especially for Her Majesty. With Richard Ansdell 
he made a tour through the Peninsula during part of \he years 
1856 and 1857, and in the latter year sent home, to the Royal 
Academy Exhibition, a " Charity " and the " Prison Window. 



208 • PHILIP. 

"this same year he was elected an Associate of that institution^ 
]md the next year, 1858, he exhibited, "Spanish Court,** *'E1 
Oontego," " Youth in Seville," and a " Portrait of His Boyal 
Highness The Prince Oonsort," for the City of Aberdeen. He 
was elected full Academician in the year 1859 and exhibited 
**Huff," and a portrait of Augustus L. Egg, K.A. In 1860 
followed " The Marriage of the Princess Boyal," a Boyal com- 
mission, and ** Prayer," his Diploma picture, now in the Diploma 
Gallery at Burlington House. In this year, too, he painted the 
portrait of " Her Boyal Highness the Princess Beatrice." In the 
spring of 1866 he went to Bome, but ill-health soon brought 
him back to London, when he suffered a paralytic stroke, and died 
on February the 27th, in the year 1867. His picture of " Spanish 
Boys Playing at Bull-Fighting " was bought by the Scottish 
National Gallery after his death. Several of his works, including 
" La Gloria " and " Prayer " have been engraved by his friend T. 
0. Barlow, B.A. Many of his pictures were exhibited at the 
London International Exhibition of 1873. 

No. 1534- The Promenade. 

A Spanish lady, dressed in a green silk skirt, yellow kerchief, 
and a black mantilla, is seen against a blue sky ; she carries a 
red-handled fan in her left hand. Behind her, a passer-by raises 
his tasseledhat in salutation. Other ladies are seen taking the 
air on the promenade. Initialed and dated 




5^9 



, Until 1884 in the collection of Charles Skipper, Esq., late of 
Pussell Square. 

On canvas, 2 ft. &| in. h. by 1 ft. 10 in. to. 

Tate Gift, 1894. 

No. 1907. Gossips at a Well. 



A scene in southern Spain. Two ragged but gaily dressed 
muleteers, who have come to fill the earthem jars with which 
their beast is laden, are shown gossiping with some girls who 



PHILIP— PIOKEBSGILL. 209t 

come to draw water. The girls are also ragged and barefooted, 
but their hair is carefully dressed, with bright flowers and 
silver pins at the side. An old woman, on the right, lowers her 
pitcher for a boy to drink from, and a dog laps the water from 
the ground. A seller of cooling drinks and his customers are 
Been through the archway on the left, and a building with 
Moorish windows fills the distance. Initialed as in No. 1534. 
and dated 1860. 

On canvas, 1 ft. 11^ in. A. by i ft. ^ in. w. 
Exhibited at the Boyal Academy in 1861. 
Bequeathed by Mr. Charles Gaseiot, 1902. 

No. 1908. The Prison Window, 

A weeping woman is seen lifting her child to the barred 
window of a Spanish prison. The prisoner reaches his arms 
through the grating, and presses his face against it, to embrace 
the child. To the right an old woman appears to be holding a 
sentinel in talk ; and, under an archway, the tower of the prison 
buildings is seen in the distance, with a sentinel patrolling the 
battlements. Initialed as in No. 1534, and dated Se villa, 1857. 

On canvas, 3 ft. 5 in. h. by 2 ft. 4 in. to. 
Exhibited at the Boyal Academy in 1857. 
Bequeathed by Mr. Charles Gassiot in 1902. 



(Henrt William), R.A. 
B. 1782. D. 1876. 

Henry William Pickersgill was born in 1782, in Spital- 
fields, London. His father was a silk manufacturer. The 
son, having a strong love of painting, became a student of the 
Royal Academy, and as early as 1806 was a contributor to its 
exhibitions. He was elected an associate in 1822, and an academician 
in 1826. 

Pickersgill's contributions to the Academy exhibitions were 
chiefly portraits, but in the early part of his career he exhibited a 
few landscapes, and later in life several fancy subjects— as in 1848, 
« The Old Oak Chest" 

Among his earlier portraits were several actors ; and during 
his long practice he painted a large proportion of the eminent 

(B.A.) O 



210 PIOKBRSGILL— POMEROY. 

persons of his time. In 1825 he ezhibitod a portrait of Mias L. B* 
Landon. He painted also Earl Gomwallis, the Duke of Wei* 
lington, Lord Hill, General Sir Charles Napier, Lords Eldon, 
Lyndhnrst, and Brougham, Jeremy Bentham, Baron Humboldt, 
William Wordsworth, Charles Kemble, Henry Hallam, Lord 
Lytton, George Stephenson, Michael Faraday, Sir B. Murchisoni 
and many others. 

Piokersgill was elected librarian of the Academy in 1856 ; and 
he placed himself on the list of Honorary Retired Academicians 
in 1872. He was a very large contributor to the Academy, having 
exhibited 363 pictures in sixty-four years, from 1806 to 1872 indn- 
sive ; his name being absent from the catalogue only three timee 
during that long interval. He died at his house in London on 
the 21st of April, 1875. 

No, 416- Portrait of Robert Vernon. 

The former of the Vernon collection of pictures, presented by 
him to the nation, Dec. 22, 1847. Seated, half length, life size ; 
he holds on his knees a pet spaniel. Vernon was born in 1774, 
made his fortune as a contractor for army horses, and bought 
pictures from 1820 onwards under the advice of George Jones, 
B.A. He died on May 22, 1849, and is buried in the church of 
Ardington, Berkshire. 

On canvas, 4 ft. 8 in. A. by S ft 8 in. to. 
Engraved by W. H. Mote. 
Painted in 1846. 
Vernon Collection, 1847. 



POMBROY (Frederick William), 
No. 1759. T?ie Nymph of Loch Awe. 



A nymph was set to watoh a magic well and to see that the water did not 

Be above a certain heiffht. 

She fell asleep, and tne water rose, and she was drowned.— The origin of 



rise above a certain height. 

She fell asleep, and \ 
Looh Awe. Old Legend. 



The nymph lies on her right side by the rising water, her right 
ftrm under her head, her left arm thrown behind her ; inscribed, 
F. W. Pomeroy, Sc— 1897— 

Marble, 2 ft. 2 in. I, by 10 in. to, and 10 in. h,, indnding the plinth of 
Mexican onyx, 2 in. thick. 

Bxhibited at the Boyal Academy of Arts in 1897. 

Ohantrey Purchase, 1897. 



POMBROT— POOLE. 211 

No. l7€Zm Dionysos. 

Tonng Bacchus lifts the wine-cnp above his head with the left 
hand, the right holds a vine branch at his side, vine leaves are 
twined round his head. Inscribed on the triangular plinth F, . W. 
Pomeroy, Sc^ /91. 

BrouBe, 1 ft. 8 in. A. 

Presented by Mr. Henry J. Pfnngst, F.S.A., in 1898. 



FOOIiB (Paul Faloomeb), &.A. 

B. 1810. D. 1879. 

Paul Falconer Poole was bom at Bristol in 1810. The first 
picture which he exhibited at the Royal Academy, in 1830, was 
" The Well : a scene at Naples," but during seven years from that 
date Ids name does not appear in the catalogue. In 1838 he painted 
'* The Emigrant's Departure," and in 1840 " Herman and Dorothea 
at the Fountain." A picture which he exhibited in 1843, " Solomon 
Eagle exhorting the people to repentance during the Plague of 
London," attracted considerable notice, and was followed, in 1844, 
by the '^ Beleaguered Moors," and in 1846 by " The Yisitation of 
8yon Monastery." 

In 1846 Poole was elected an Associate of the Royal 
Academy, and the following year he gained a prize of 300Z. in the 
National Competition for historical designs exhibited in West- 
minster Hall, the subject which he selected being *^ Edward the 
Third's generosity to the Burgesses of Calais." 

In 1848 he exhibited his picture '^Arl^te, a peasant girl of 
Falaise in Normandy, first discovered by Duke Robert le Diable," 
end in 1849 a painting in three compartments illustrating scenes 
from ^'The Tempest." The characteristics which diRtinguish 
most of his later works were noticeable in his painting of '* The 
Messenger announcing to Job the Irruption of the Sabeeans and 
the Slaughter of his Servants " exhibited in 1850, and his " Goths 
in Italy," exhibited in 1851. His subsequent pictures indnde 
^* The May Queen preparing for the dance," and ** Mariana singing 
to her Father Pericles," 1852 ; *< The Song of the Troubadours, ' 
1854; "The Seventh Day of the Decameron/' 1855; "The 

(B.A) O 2 



212 POOLE— POTTER. 

Conspirators— Midnight Meeting," 1856 ; " A Field Conventide," 
1857 ; " The last soene in King Lear," 1858 ; " The Escape of 
Glaucus and lone," 1860. In this year Poole was elected a 
Boyd Academician, and contributed annually to the Boyal 
Academy Exhibition for several years, sending three pictures in 
1864, of which the most notable was " Lighting the Beacon on the 
coast of Cornwall at the appearance of the Spanish Armada." 
Among his last works was " Ezekiel's Vision," exhibited in 1875, 
and eventually selected for the National GkJlery from a bequest 
made by the artist. Li 1878 Poole was elected a member of the 
Institute of Painters in Water-Colours. He died on the 22nd of 
September, 1879. 

No. 1091. ''The Vision of EzekieV 

** And I looked, and, behold a whirlwind came ont of the north, a great cloud 
and a fire infolding itself, and a brightness was about it, and ont of the midst 
thereof as the colour of amber, out of the midst of the fire. Also ont of the 
midst thereof came the likeness of four living creB.tTJxea.^'—EzeMeU i.«4« 6. 

On oanvas, 4 ft. 5^ in. h. by 6 ft. 1} in. to. 
Bequeathed by the painter in 1879. 



(Frank Huddlestone). 
B. 1846. D. 18^87. 

Frank Potter was born on April 25, 1845, the youngest of 
thirteen children. His father, George W. K. Potter, a solicitor, 
was Secondary of the City of London for fifty years, and his 
uncle, Cipriani Potter, was a well-known musician and first 
president of the Boyal Academy of Music. Some years after 
leayisg school Frank Potter entered as a student of art at 
Heatherley's in Newman Street, and afterwards studied at the 
Boyal Academy Schools. He then went to Antwerp, but returned 
in a few months. He showed a small '* Study of a Girl's Head " 
at the Academy in 1870. In the following year he exhibited 
there another "Girl's Head," but did not show again at the 
Academy till 1882. From 1871 to 1885 he exhibited chiefly at 
the British Artists, and became a member of that Society in 1877.* 
His Jfork attracted little notice, and even among the fellow-artistfl 



J 



POTTER. 213 

who admired it few knew him well, because of his shy and 
retiring natnre. A little gleam of recognition came with the 
opening of the Qrosvenor Ghillery of 1887. Potter showed there 
a picture called " A Quiet Corner," *' a girl, in expanded skirts of 
some diaphanous white material, sitting pensive in a low chair 
against a greenish background." But the recognition came too 
late ; Potter, never robust, and reduced to ill-health by actual 
want, had been failing for some years, and died on the opening 
day of the exhibition May 3, 1887, aged forty-two. In November 
of the same year a wall at the British Artists was hung with 
thirty-three of his pictures, the ''Music Lesion" among them. 
It is perhaps the most important of his worics, all of them small 
in scide. It is also typical in its deep luminous tone, naivete of 
drawing, execution by glazings and stipplings in some varnish 
medium over a reddish ground, and also in its subject. *' The 
subjects are all of the same simple kind. They are always girls ; 
girls of every age between ten and twenty, sitting here in an 
invalid chair, her head propped against a pillow, and her lines 
relieved against a background of rich oriental decoration ; here 
coming in with afternoon tea through a doorway which allows us 
to catch a De Hoogh-like glimpse into a further room ; or, again, 
crouched child-like in her nightgown before the red glare of a 
winter fire." {Manchester Ouardian, Nov. 28, 1887.) An example 
of Potter's art was acquired, through the late Mr. Philip Bathbone, 
for the Walker Art Gallery, Liverpool ; another was lent by Mr. 
Stirling Lee to the Wolverhampton Exhibition in 1904, and a 
third, from the same collection, was in the Old Masters of 1907, 
A few personal notes may be added to the scanty record of 
Potter's life and character from the recollection of a friend and 
fellow artist, Mr. J. B. Yeats : — 

'* He was the most attractive man I ever met, the most gentle 
and meekest of men, and yet *no art school could have made or 
marred him ; neither in art nor in anything else could the gates 
of Hell have prevailed against him. He had a great stutter, and 
in consequence seldom spoke ; and yet in any house he entered he 
was the one to whom everyone brought everything good, bad or 
amusing that they wanted to tell. He was of Dutch extraction, 
which accounts for much. His father was rich, and he was 
brought up gently. His father always allowed him plenty of 
money, but when he died Potter had nothing or next to nothing 



214 POTTER. 

« 

I Bometlmes thick that \re vere all afraid of him, but that love 
perpetoally cast out fear. He had no reading or edncation, except 
painting and good manners — I mean good manners taken inter- 
nally, not merely for outward application. He had a thin face, 
moustache, and a crown of curly hair. His sense of humour was 
extraordinarily rich and pure. Oonnie Gilchrist, when a child, was 
one of his models ; he spoke, or rather stammered, about her 
with great affection. His studio always had two or three dolls 
carefully put to sleep by their mothers, the children who sat to him. 
Of course he was an old Tory ; no one ever argued with Potter ; 
it was so much more easy and natural to agree with him." 

No. 2108. A Music Lesson* 

A lamplight scene. At a cottage piano, nearly f acinff the spectator, 
a child of twelve to fifteen years seated to the ri^t and facing 
left is teaching a smaller child, perched on the piano-stool. She 
indicates the notes on the sheet of music with a pointer, her left 
hand rests upon the keys. Her frock is pomegranate colour, that 
of the smaller child intense green, and both have reddish hair. 
The wall above the piano is green, broken by a gilt picture frame, 
and there are dark panels and screens right and left. To the 
right is also a small table with a blue vase on a citron coloured 
cloth ; on a stand to the left lies a Japanese doll. A small vase 
of flowers stands on the piano. 

On panel, 1 ft. 8 in. A. by 2 ft 4^ in. w. 

On the back of the panel are two beginnings of stadies and a chalk 
inscription, " A Music Leseon. By Frank H. Potter. Finished Jan., 
1887 " (four months before his death). 

Purchased from Mr. Percy Thomas, out of the Clarke Fund, 1907. 

No. 2214. Little Dormouse^ 

A little girl with red hair and dark eyes, apparently the same 
model as appears en the piano-stool in No. 2108, is seated, seen to 
the knees, dressed in bright green with white at the neck and 
wrists. She holds on her lap with the left hand a white bowl with 
blue stripes, containing her supper of bread and milk, a spoon in 
her right. She looks up shyly towards the spectator. The back- 
ground is a deep blue. The picture is larger in scale than Potter's 
other works, and is possibly the last he painted. A friend and 
fellow-artist contrived to sell it for him, and hurried back eagerly 



POTTER— POUSSIN, 215 

with the cheque, but oame too late. Potter was dead of sheer 
want. 

On panel, 1 ft. 9^ in. h. by 1 ft. 6 in. w. 
Presented by Amy, Lady Tate, 1908. 






POUSSZN (Oharlsb), r&SNCH SCHOO&. 

B. 1819. D. 1904. 

Charles Pierre Ponssin was bom on the 28th of December, 
1819, in Paris. He stndied under Goignet. His most important 
pictures are Breton subjects like "Pardon Day in Brittany 
in this Gallery, '*La sortie de FEglise d'un manage breton, 
in the collection of Liet.-Gol. Ohauyin at Bourges, "Le repos 
des pelerins en Bretagne," in the collection of M. Dumas at 
Passey, near Paris, '^L'eau dans les manches d'un Enfant, 
superstition bretonne," " Une marohand de chevaux," '' Une foire 
Normande," and " La distribution des restes du repas aux pauyres 
le lendemain d'une noce bretonne," a large picture which 
obtained a mention honorable at the Exposition de Paris in 1885. 
Poussin painted many other scenes of Breton marriages and a 
large number of landscapes. He died in Paris on October 
12th, 1904. 

No. 810- Pardon Dayj in Brittany. 

This represents a f dte held in honour of Notre Dame de Bon Se* 
eaura of Guingamp, in Brittany, on the 2nd of July in every year. 
Pope Paul Y., in 1619, granted a plenary indulgence to all those 
who truly confessed and communicated, who should visit the 
said church on that day. Hence great crowds frequent this f es- 
tival of the Boman Church. The numerous pilgrims are assembled 
in an open wood, variously occupied, and exhibiting many 
interestii^; examples of local costume. Signed Charles Fomsitif 
1851. 

On canvas, 4 ft 10 in. A. by 10 ft. 9 in. to. 

Painted in 1851. 

Presented by Mr. B. E. Lofft in 1870. 



216 POTNTER. 



(Ahbrobb). 

B. 1796. D. 1886. 

AmbroBe Poynter, architect, was bom on 16th May, 1796. His 
professional career began in the office of John Nash, and he 
further qualified himself for future practice by a year and a half's 
travel through Italy, Sicily and the Ionian Islands, where he made 
numerous sketches . 

Among his architectural works were the Observatory at Cam- 
bridge, the Hospital and Ohapel of St. Katherine, Regent's Park, 
Christ Church, Westminster, and the French Protestant Church 
in Bloomsbury Street. He made exhaustive notes and drawings 
of English domestic architecture from the fourteenth to the 
sixteenth centuries. 

He studied water-colour drawing with Thomas Shotter Boys, 
and in Paris, where he formed the intimate acquaintance of 
R. P. Bonington. He made many drawings outlined in pencil 
and sometimes washed with colour. He assisted Charles Knight 
in the Pictorial part of his Shakespeare, and of the Pictorial 
History of England. In the latter work he wrote the chapters 
on literature, science, and the fine arts. He was Inspector of 
the Schools of Design, connected with the School of Art 
established in 1836 at Somerset House. He was one of the 
original members of the Institute of British Architects, and 
other learned societies. He died at Dover on the 20th November, 
1886. By his first marriage, to Miss Emma Forster, a grand- 
daughter of the sculptor, Thomas Banks, R.A., he was the 
father of Sir Edward Poynter.* 

No. 1716. A Street. 

An old street in which most of the houses have their gable ends 
built towards the road ; shadows cast by the houses across the way 
creep up the walls ; one house, with a fiat shop-front, has tho 

* See for fiirther details Professor T. Hayter Lewis, in the Journal of the 
Proceedings of the Royal Institute of British Arohiteots, 1887. 



POYNTER. 217 

shutiers up ; another on the right, bnilt of wood, with tiled roof, has 
a dgnboard over the door on which is written 

THE 

SERGEANTS 

HEAD 

I STEVENS 

Water-ooloTir and lead penoil,' 6^ in. ^. by 9 in. w. 
Presented by Miss H. M. Poynter in 1898. 

No. 1717. NortJdeach Ghurchy Gloucester. 

The east end and tower of a late Gothic chnrch with perpen- 
dicular additions and alterations ; tombstones form the foreground 
of the drawing ; on one of them is written 

Northleach Ohnroh 
Glonoestershire 

Lead pencil, ^\ in. K by 44 in. w. 
Presented by Miss H. M. Poynter in 1898. 



(Sir Edwabd John), P Jt.A. 
No. 1586>* A Visit to JEsculapius. 

" In time Ion? past, when in Diana's chase 
A bramble bnsh pxiokt Yen as in the foot 
Old ^Bcnlapins healpt her heavie case 
Before the hnrte had taken any roote." 

—Thomat Watson (Arbefs Beprint), 

Yenns. attended by the three Graces, has entered the endosed 
garden oefore the house of ^sculapins, and is showing the 
"hnrte" to the god of medicine, who is seated, with his dog 
beside him, between the columns of the porch ; overhead is a trellis 
overgrown with honeysuckle ; behind him stands a handmaid in 
red with a box of ointment ; to the right another maiden in blue 
is dipping a small bucket into the basin of a marble fountain ; 
beldn^ in the wall of the garden, is a gate of gilded bronze and 
marble with a Greek inscription, '' TQI ASKAHniOl," leading to 



218 POYNTER— PRINSEP. 

a grove of ilex trees, throaffh which are seen the fluted colunmB 
of a temple; sparrows and doves hover near the goddess, and the 
staff of .^Isculapiiis, with the serpent about it, is seen near a 
flower-bed to the left. Initialed and dated, 




On oanvas, 4 ft. lli^ in. A. by 7 ft. 6 in. to. 
Bzhibited at the Boyal Academy in 1880. 
Ghantrey Purchase, 1880. 

No. 1948. Outward Bound. 

Two children playing among some rocks by the seashore are 
watching a boat, made of a walnut shell and a feather, being 
carried by the tide out to sea through a natural arch in the cliffs. 
By their side are a fishing-rod, a little basket and some shells. 

On canvas, 1 ft. 7i in. square. 
Bequeathed by Mr. Henry Evans. 



(Valentine Gamebon), R.Ai 
B. 1838. D. 1904. 

Valentine Cameron Prineep was born on St. Valentine's Day^ 
1838, in Calcutta. He was the second son of Henry Thoby 
Prinsep, Bengal Civil Service Director of the East India Company 
and afterwards Member of the Council of the Secretary of State 
for India. Prinsep was educated by the Rev. J. Penrose^ 
Exmouth, and the Bev. L. J. Bernays, Elstree ; he was originally 
intended for the Indian Civil Service, for which he received a 
nomination from his father, and he was accordingly entered as a 
student at the East Indian Company's College at Haileybnry 
in 1855, but he left to follow art in the ensuing year. He 



PRINSEP. 219 

studied the works of Watts, who had lived in his father's 
house since 1852, and, influenced hy Bossetti, he assisted 
in the decoration of the Union Hall of the Ozford^^Debat- 
ing Society, hegnn hy Bossetti, Morris, Bnme-Jones, Arthnr 
Hnghes, and others in 1858. The subjects were all taken from 
the Morte d' Arthnr and Prinsep's panel represented the love 
of Sir Pelleas for the Lady Ettarde. After a short visit to Italy 
with Burne-Jones, Prinsep went to Paris and worked in the 
stadio of Gleyre^in 1859, where Sir Edward Poynter and Whistler 
also studied. The winter of 1860-61 Prinsep spent in Borne and 
shared a studio^ out of a garden in the Yia Porta Pindana, with 
Edouard Brandon. In Borne Prinsep renewed and strengthened 
his friendship with Bobert Browning and William Storey ; he has- 
left an account of this time in reminiscences published in the 
Magaxine of Art in 1904. 

The first picture Prins^ sent to the Boyal Academy was 
called " Bianca Capella," exhibited in 1862. He exhibited there 
yearly till his death. His next important pictures were "Jane 
Shore" and ** Cleopatra." At the same time three other worka 
appeared, " The Dish of Tea," '* This Village Violinist," and « Bead- 
ing Sir Charles Grandison." Other early works were portraits of 
Viscount Ingestre and Lady Theresa Talbot, "Penelope" and 
" The Harvest of Spring." Prinsep painted a portrait of Lord 
Lawrence for Government House, Calcutta, by order of the 
Secretary of State for India. In 1876 Prinsep revisited India 
and worked there for more than a year upon the preliminary 
studies for the large composition by which he is best known^ 
the Durbar at Delhi, when Queen Victoria was proclaimed 
Empress of India. It was exhibited in 1880 under the title 
of "The Imperial Assemblage held at Delhi, by Lord Lytton," 
was presented to their Suzerain by the people of India, and 
is now hung in St. James' Palace. In 1882 Prinsep returned 
to romantic subjects with " The Death of Si ward the Strong "^ 
and "Phyllida," and, in 1883, "Titian's Niece," "After the 
Honeymoon," "Bathing Ghslts at Benares," and a portrait of 
Mrs. Kendall in Tennyson's "Falcon." Other pictures of 
this period were a "Punjabee Girl," "The Saturday Dole ia 
the Worcester Chapter House," a portrait of Mr. Frederick 
Leyland, the artist's father-in-law, "Bon di," "Five o'clock 
Tea," "The Handmaids of Siva preparing the Sacred Bull at 



7 
I 



220 PRINSEP— PROUT. 

Tanjore for a FestiTal," and ^^Ayesha," the Chantrey pnrohafle 
DOW in this Gallery. Amongst Prinaep's later picturea were 
"Medea, the Sorceress," "Diya Theodora Imperatrix, Empress 
and Comedian," ''A Versailles," "La R^volntion," painted in 
1896 as his diploma picture, "At the First Touch of Winter, 
Summer fades away," " Cinderella," " Autumn," and " Yenetian 
Women after their Day's Work." 

Prinsep was elected an Associate of the Boyal Academy in 1879 
and full member in 1894 ; he was professor of painting from 1901 ; 
he died on November the 11th, 1904, at the house he built far 
himself, next to that of his friend Lord Leighton in Holland 
Park, Kensington. 

Prinsep, who was devoted to manly sports, was one of the 
founders of the Artists' Volunteer Corps, in which he held a 
commission for many years, retiring with the rank of Major. 
Besides the reminiscences already alluded to and several papers on 
artistic subjects, he wrote " Imperial Lidia, an Artist's Journal," 
the plays "Cousin Dick" and "Monsieur le Due," and two 
novels " Virginie " and " Abibal the Tsourian." 

No. 1570. Ayesha. 

A three-quarter length picture of an Eastern girl, draped in a 
brown-red shawl. She holds a large covered copper vase in her 
arms ; her left wrist is loaded with silver bangles. 

On canvas, 2 ft. 11^ in. h. by 2 ft. 3| in. to. 

Exhibited at the Boyal Academy in 1887. 

Ohantrey Purchase, 1887. 



PSOUT (Samuel). 

B. 1783. D. 1852. 

Samuel Prout was bom in Plymouth on September 17, 1783, 
and was educated at the local Grammar School. When quite a 
ohild he had a sunstroke which affected his health for the rest of 
his life. He had art teaching from a drawins^ master in the town, 
but was first employed by John firitton, during a journey in Corn- 
wall, when collecting materials for his " Beauties of England and 
Wales" in 1801. In 1802 Prout sent some drawings to Britton, 



PROUT— PYNE. 221 

which showed great progress, and he come to London to live 
with Britton in Cierkenwell for two years. Here he copied the 
works of the best topographical draughtsmen of the day, and went 
into the counties to sketch for Britten's publications. In 1804 he 
exhibited at the Boyal Academy and continued to do so for several 
years, sending 28 works there. He had to live much of the time 
in the country on account of his ill-health and returned to Corn- 
wall. In 1811 he came again to London and lived at Stockwell. 
He was an exhibitor at the Royal Society of Painters in Water 
Colours from 1815, and was elected a member in 1819, sending in 
all 560 works to the exhibitions. He first visited the continent in 
1819, and frequently afterwards, becoming celebrated as a painter 
of cathedrals, churches, town-halls, and market-places in Nor- 
mandy. In 1824, and afterwards, he visited Venice and other 
parts of Italy, and Germany ; facsimiles of his sketches 
were published in 1839. He contributed to the illustrated 
annuals, and for Ackermann he undertook a series of designs in 
lithography to be used as drawing copies. Prout was painter in 
water colours to George IV. and Queen Victoria He died at 
Denmark Hill on Feb. 9 or 10, 1852. A collection of his draw- 
ings was exhibited at the Fine Art Society's Galleries in 1879-80 
with notes by John Ruskin. There are twenty-two examples of 
his work in the Victoria and Albert Museum, South Kensington. 

No. 1978> A Street in Antwerp. 

The son lights up three old houses covered with elaborate 
carvings and with their gables facing the street. The broken lines 
of the windows are varied with white and blue curtains On the 
name plate of the side street to the right may be read the words 
KRAE STR .... 

Water-colour on paper, 1 ft. 4^ in. A. by 11 i in. to. 

Bequeathed by Mr. Charles Fraser in 1906. 



(JAME3 Bakeb). 

B. 1800. D. 1870. 

James Baker Pyne was bom in ^Bristol in December, 1800 ; 
he was articled to an attorney, but abandoned the law to 



222 PYNE— REID, 

become an artist. In the year 1835 he came to London and 
exhibited at the Boyal Academy, the British Institution, and 
the Society of British Artists ; he became a member of the 
iast Society in 1837, and was for some years Yioe-President. 

In 1846 he yisited Switzerland,]Gennany and Italy, and reTisited 
Italy in 1851. He published three lithographed series of his 
landscapes; in 1840 one illustrating Windsor and its surrounding 
Scenery, in 1853 The English Lake District, and in 1859 The 
Lake Scenery of Iingland. He died on the 29th July, 1870, and 
was buried in the Highgate Oemetery. 

Three of his oil paintings belong to the Dixon Bequest in the 
Bethnal Green Museum — ^*' Night Fete at Olevano," signed and 
dated 1854 ; '' Thirhnere, Cumberland," of 1867 ; and ^< View in 
Venice," 1860. An oil painting, and two water-colour drawingsi, 
belong to the Art Department, South Kensington Museum, bat 
•are now on loan ; the oil is " The Bay of Naples— From the 
Yilla Bocco Bomano, Strada Nuova," which is signed and dated 
1868. The water-colour drawings are a " Distant View of Arundel 
Castle" and a " View in Cumberland." 

No. 1545- Totland Bay. 

In the middle-ground of the picture a fisherman's hut, with a 
thatdied roof and tiled outbuildings, is relieved white against a 
background of sea and distant cliffs. A road leads down to the 
shore, on which a boy and girl on horseback are riding, followed 
by a dog. Signed, J. B. Ptne 1844. 86. 

On canvas, 2 ft. 11} in. h, by 4 ft. 7 in. to. 

T^te Gift, 1894. 



(John Bobebtsom). 

No. 1557. A Country Cricket Matchj StMsex. 

The match is taking place on a village ^en. To the left is a 
tent, with groups of spectators and rustics seated at a table* 
Signed, John B. Beid— 78. 

On canvas, 3 ft. 5^ in. A. by 5 ft. 11} n. w. 

Painted at Ashington, in Sussex. 

Exhibited at the Boyal Academy in 1878. 

Tate Gift, 1894. 



REID— RICHMOND. 223 

No. 1600. Toil and Pleasure* 

Borne farm labourers are groaped in a field of tttmips watchinff, 
with Tarioas expressions of interest, a hunt, which is going by m 
the distance. Signed, John B. Beid=79. 

On canyas, 3 ft. 2^ in. il. by 5 ft. 11| in. to. 

Painted at Ashragton, in Sussex. 

Exhibited at the Boyal Academy in 1879. 

Ohantrey Purchase, 1879. 



RZOHMONB (GEOBas), B.A. 

B. 1809. D. 1896. 

George Bichmond, the son of Thomas Bichmond, a miniatnxe 
portrait painter, was bom in Brompton on 28th March, 1809. 
He received his early artistic education from his father, and at the 
age of 15 was admitted a student of the Boyal Academy, where he 
became a pupil of Fuseli, then Keeper. The original genius of 
Blake at this time attracted certain admirers, who in artistic circles 
formed a group, somewhat resembling in their enthusiasm and 
segregation the Fre-Baphaelite Brotherhood, which came into 
existence a generation later. Young Bichmond was greatly inter- 
ested by the new doctrines which it professed, and while under 
this influence he painted in 1828 a little picture representing 
" Ohrist and the Woman of Samaria," the style of which is some- 
what reminiscent of Blake, though mainly based on the study of 
early Italian masters. This picture, in accordance with lUch- 
mond^s wish, was presented by his family nearly 70 years later 
to the National Gallery, and is described below. It soon became 
apparent, howeyer, that George Bichmond's chief ability lay 
in the direction of portraiture. He went to Paris and studied 
hard at the LouTre, but both before and after this stage in 
his career the subject pictures which he exhibited were neither 
numerous nor remarkable. In 1831 he married Miss Tatham, 
the daughter of a well-known architect. In 1833 he sent four 
portraits to the Boyal Academy. In the following year six, 
including one of Lord Sidmouth, appear in the catalogue, 
and thenceforth he seems to have received numerous similar 



224 RICHMOND. 

commissions from persons of position. The strain of constant 
work proved too much for his health, and in 1^37 he went to 
Italy, where he remained for two years and made many friends. 
On his return he found the demand for his portraits, both in oil 
and crayon, constantly increasing. He reckoned among his sifters 
some of the most distinguished persons in London, where, owing to 
his artistic success and courteous manners, he won great social 
popularity. In 1857 Richmond was elected an Associate of 
the RoysJ Academy, and nine years later a. full member. Always 
a well read and cultivated man, he had acquired considerable 
knowledge of the history of art, and retained through life a 
genuine admiration for the works of the old masters. When, 
on the death of Sir William Bozall, the Directorship of the 
National Gallery became vacant, it is understood that Gladstone, 
then Premier, offered the appointment to Richmond, who, how- 
ever, probably because his time was so closely occupied by 
professional work, declined to accept it. He followed his pro- 
fession until 1881, when he practically gave up painting, and 
became Retired Royal Academician. But he continued to take 
great interest in art, and for years assisted the Academy by his 
advice in selecting works for the Winter Ejchibition at Burlington 
House. 

Having reached the advanced age of 87, he died at his house in 
London on March 19, 1896. 

No. 1492- Christ and the Woman of Samaria. 

Seated on a bank between two trees and leaning on the wall of 
a circular stone well. Our Lord, wearing a crimson robe, turns to 
accost the woman who has come to draw water in a metal ewer. 
She stands on the other side of the well in an attitude of reverent 
attention. Behind her a flock of sheep is grazing. In the 
distance three figures are seen walking over hilly pasture land. 
Bevond rise the walls and towers of a small town. Signed, on a 
rook in the foreground ^'Geobge Richmond 1828 " 

On panel, 1 ft. i\ in. h, by 1 ft. 8 in. to. 
Presented by Mr. Richmond's family in 1897. 



RIVERS— BIYIEBE. 225 

&XVB&8 (Leopold). 

B. 1852. D. 1905. 

Leopold HiTon was a member of the Royal Society of Biitish 
Artists, Suffolk Street, and began to exhibit in London in 1873. 
He sent a large number of pictures to the gallery of the society 
and also to the Royal Academy, the Royal Institute of Painters in 
Water-Oolonrs, and to other exhibitions. He died in 1905. 

No. 1710. Stormy Weaiher. 

At the turn of the road, over some low lying land, is a finger 
post ; a man in a white smock slowly leads a donkey drawing a 
cartload of peat towards it. It is raining over at the hamlet to the 
left ; the ragged clouds are tearing across the dark blue sky and 
partly hiding the dark purple hill. Signed, Leopold Rivers. 

Water-oolonr, 1 ft. 9 in. A. by 2 ft. 6 in. to. 

Exhibited at the Boyal Academy in 1892. 

Ghantrey Puiohaae, 1892. 



(Briton), &.A. 
No. 1515> The Miracle of the Qadarene Swine. 

"And the nnclean spirits went out, and entered into the swine : and the herd 
ran violently down a steep place into the sea (they were about two thousand), 
and were choked in the sea. 

And they that fed the swine fled."— /Sfa<n^ Mark, V., 18-14. 
Initialed and dated near the <^g to the right, 




On canvas, 3 ft. 5^ in. A. by 5 ft. 2f in. to. 

Exhibited at the Boyal Academy in 1883, and at the Birmingham 
Art G^Uery 18g2. 

Tate Gift, 1894. 

(B.A-) P 



226 RIVIEKE. 

No. 1516. Giants at Play, 

Three navyies resting under a brick wall watch a boll-pup 
worrying a tuft of feathers tied to a string. Signed with the 
monogram as in No. 1515, and dated 1882. 

m 

On oanyas, 2 ft. 8 in. A. by 4 ft. 4f in. w. 
Exhibited at the Boyal Academy in 1883. 
Tate Gift. 

No. 1517. Companions in Misfortune. 

In a brown coat, a yellow handkerchief tied round his left hand, 
his gun clutched in his right, a wounded poacher lies at the root 
of a big tree in a hedge, his watchful dog curled up beside his 
head. Initialed as in No. 1515 and dated 1883. 

On oanyas, 2 ft. 10 in. ^. by 4 ft. 2 in. to. 

Tate Gift. 

No. 1518.* A Blockade Runner. 

A black and white cat is escaping along the top of a brick wall 
from the jaws of four open-mouthed dogs ; the fox terrier in front 
is jumping after her as high as he can, but seems unable to reach 
the top of the wall. Initialed, as in No. 1515, and dated 1888. 

On oanyas, 1 ft. 11 in. h, by 1 ft. 4^ in. w, 
Tate Gift 

No. 156C. Sympathy. 

The study for a larger painting now in the Royal Holloway 
College, and finished afterwards. The disconsolate little girl in 
her sky-blue dress, sitting on the well-carpeted stairs, was 
painted from the artist's daughter. A white dog sits by her 
side in an attitude of deep sympathy with his mistress in her 
trouble. 

On canvas, 1 ft. 5^ in. h, by 1 ft. 2 in. w. 

Engraved by Frederick Stacpoole, A.B.A. 

Until 1896 in the collection of Colonel John Hargreaves, of Maiden 
JEr^egh, Berks. 

Tste Gift, 1894. 



RIVIBBE— ROBERTS. 227 

No. ^577" Beyond Man^ 8 Footsteps. 

A polar bear Btanding high up on blocks of ice seems to snrrey 
a yast extent of arctic landscape illuminated by the red light of 
the setting sun. 

On oanyasy 3 ft 10 in. A. by 6 ft. to. 

flzhibited at the Royal Academy in 1894. 

Chantrey Pnrehase, 1894. 



«t09S9tTS (David), ^.A. 

B. 1796. D. 1864. 

David Roberts was bom at Stockbridge, near Edinburgh, 
October 24, 1796. He was apprenticed to a house painter and 
decorator, but at the expiration of his apprenticeship he devoted 
himself at once to scene painting, and obtained employment in 
1816 at the Edinburgh circus, at 25«. a we^k ; he was afterwards 
engaged for the Glasgow theatre. He was not a student of the 
Trustees' Academy, though he attended it a few days. 

In 1822 Roberts came to London, and was engaged as a scene 
painter at Drury Lane Theatre, where later Stanfield became 
his fellow-labourer in the same department. His very great suc- 
cess as a scene painter led Roberts to try his fortune in the more 
delicate province of architectural painting in oil, and in this branch 
of his art also he soon demonstrated extraordinary capacity, and 
was not long in acquiring a public recognition of his powers. He 
appeared first as an exhibitor at the Royal Academy in 1826, with 
a view of " Rouen Cathedral ; '' he exhibited also at the British 
Institution, and more frequently with the Society of British 
Artists at Suffolk Street ; he was one of the original members and 
a Vice-President of that society, but had to leave ^it eventually in 
order to qualify himself for membership of the Royal Academy. 

In 1832-33 Roberts made a tour in Spain, a fruitful source 
during many years of his sjketches and pictures. 'In 4835 he 
exhibited at the Royal Academy a large exterior view of " The 
Cathedral of ^urgos," and painted the small interior of the same 
cathedral, which is now in this collection. 

Roberts made many journeys on the Continent of Europe, and 
in 1838-39 undertook an arduous and extensive tour in the Sasti 

(BA.) P 2 



228 ROBERTS. 

which, like his Spanish joomeys, was thenceforth the constant 
source of pictures, including some of his finest works. A more 
inmiediate result was a series of published sketches which has 
spread the painter's reputation even to the East.* Among the 
most remarkable pictures, the result of this Eastern tour, are 
" The Buins of Baalbec, Mount Lebanon in the Distance," ezhi* 
bited at the Academy in 1841, and "Jerusalem ftom the South- 
east, the Mount of Olives," exhibited in 1845. 

From 1835 until his death Roberts' name was but once, in 1839, 
absent from the Royal Academy catalogues ; he contributed 
altogether 99 pictures, somewhat more than one-third of his 
works in oil, to the Royal Academy exhibitions. He painted 
altogether about 260 oil pictures. He was elected an Associate 
of the Academy in 1838, while in the East, and became a full 
member in 1841, having earned this dignity by his Spanish pictures 
chiefly. He died in London of apoplexy, on the evening of 
November 25, 1864, in his sixty-ninth year. 

Though Roberts did not attain to a great age, he yet lived long 
enough to see his early pictures sold at auctions for ten and even 
twenty times the amount of the original prices. His pictures 
are almost exclusively architectural, but the purely landscape and 
figure portions of them have generally an admirable effect also. 
They are too numerous to admit of mention even of a selection of 
them. Among the most interesting are some of the very last — 
those illustrating the more conspicuous architectural monuments of 
this metropolis. As remarkable exceptions to his ordinary subjects 
may be instanced '* The Destruction of Jerusalem by the Romans 
under Titus, in the year 71," exhibited at the Academy iii 1849 
(published in chromo-lithography by Day and Haghe) ; and the 
large and magnificent sunset view of Rome from the convent of 
Bant' Onofrio, in the Exhibition of 1855, and now permanently 
placed in the Edinburgh Gallery, to which it was presented by the 
painter. Many of Roberts's foreign sketches were published in 
"The Landscape Annual," and other publications of the same 

* These fiketohes were exhibited in a room in Begent Street in 1840, and were 
pnblished, on a large scale, by Alderman Moon in 1842 and following years, 
under the iitle'-The Holy Land, Svria^ Idumea^ Arabia, Egypt, and Nubia; the 
Uthographs drawn by Louis Haghe, and the letterpress of the'* Holy Land*' 
by Dr. Croly : 123 plates in three volumes foho. Egypt and Nubia, with 
descriptions by Mr. Brbckedon, constitute a separate work ; both were 
published plain and coloured by hand in imitation of the sketches. 



ROBERTS. 229 

period ; he received 15/. each for ihe original drawings. The 
sale of his remaining sketches and drawings, at Christie's, in Jnne 
1865, realized the large amount of 16,450/. 

No. 400. Interior of the Cathedral at Burgos^ North 
Transept. 

The rich Gothic cathedral of Burgos, the capital of Old Castile, 
was commenced by Ferdinand HI. early in the ISth century. The 
magnificent^flight of uteps to the left, leading into the cathedral 
from the upper town, belongs to the period of the Renaissance, 
and was executed in the 16th century. Sigaed Darid Roberts. 

On wood, 1 ft. 8| in. h, by \l\ in. to. 

Painted in 1835. 

Engrayed by E. Ohallis. 

Yemen CoUecdon, 1847. 

> No. 401. Chancel of the Collegiate Church of St. Paul 
at Antwerp, 

The church, as it at present exists, is a work of the 17th century. 
The original churchy which was attached to a Dominican convent, 
was des&oyed in 1547. The marble altar iis by Pieter Verbrug- 
ghen, the younger ; the altar-piece, by Cornelia Cels, was painted 
in Rome in 1807. Signed David Roberts, R.A., 1848. 

On canvas, 4 ft. 8 in. h, by S ft. 8 in. Wt 

Painted in 1848 for Robert Vernon. 

Engraved by E. Ohallis. 

Yemon Collection, 1847. 

No. 197S- The Shrine of Edward the Confessor. 

The chapel of St. Edward the Confessor is in the centre of the 
ambulatory behind the choir in Westminster Abbey. The shrine 
was erected by the order of Henry III. in 1269, and is decorated 
with marble inlaid work in the manner of the Cosmati. A gleam 
of sunlight falls on the white marble shrine and the dim recesses 
of the abbey radiate on every side. On the left are the Coronation 
chairs and some Westminster scholars. The shrine is inscribed, 
YIRTIUM LAUDIBUS. Signed David Roberts, 1830. 

Water-colour, 1 ft. i in. A. by 1 ft. 6 in. to. 

Bequeathed by Mr. Oharles Eraser, in 1905. 



230 ROOKE— ROSSETTL 

^OOBLB (Thomas Matthews). 

No. 1624. The Story of Ruth. 

Under the first or left-hand division of the story is written — 
"The Lord do so to me, and more also, if anght l5tit death part thee and me. 

Under the second or middle division is written — 

^Tlie Lor<i recompense thy work, and a full reward be given thee of the Lord 
God of Israel, under whose wings thou art come to tmst 

and under the right-hand or third and last division — * 

**He shall be nnto thee a restorer of thy life, and a notiirlsher of thine old a^6 
for thy daughter-in-law, which loveth thee, hath borne him.*' 

In the left-hand division is Ruth the Moabitess, in a parpl'e- 
black gown, and with a white veil over her head, clinging to the 
right arm of Naomi, her mother-in-law, who is returning home 
to her own people in Beth-lehem-Judah ; she is dressed in a 
green-black gown and has a grey veil over her head, and a gourd 
slung at her side. Orpah is seen behind waving farewell as she 
returns to her mother's house. 

In the middle division Ruth is gleaning after the reapers ainong 
the she.aves, in i(he barley-field of Boaz, who stoops towards her as 
he makes her welcome; he wears a black fringed garment^ and 
has a gold chain aboutthis head ; behind, other maidens in green, 
and grey glean after the reapers. 

In the right-hand, and last division, under a vine loaded witl) 
ripe white grapes, sits Naomi, her feet on a rug^ and wearing 
a green mantle lined with blue ; beside her stands lEtuih in purple 
raiment, two strings of pearls round her veil ; she has placed her 
child, Obed, in the arms of her mother-in-law 

All three divisions are 2 ft. 2f in. ^. ; the two outer divisions are 
1 ft. S^ in. 117. ; the middle division is 1 ft. 1^ in. w. 

Painted during the year 1876, and the spring of 1877. 

Exhibited at the Bojal Academy in 1877. 

Chantrey Porohase, 1877. 



ROSSBVdrx (Gabriel C^abl&s Dant^}. 

B. 1828. D. 1882. 

Gabriel Charles Dante Bossetti was. born on May 12, 1828) the 
elder son of Gabriele Rossetti, an Italian poet who, becoming 
involved in political difficulties, escaped from his native country 



ROSSETTI. 231 

to England, where in 1826 he married Frances Po]idori, daughter 
of Alfieri's secretary, and was sabseqaently appointed Professor of 
Italian at King's College, London. At the age of eight Gabriel was 
placed at King's College School where he remained seveQ years. 
Having shown an early taste for sirt he then entered Cary's studio 
in Bloomsbury, and in due course was admitted a student 
of the Boyal Academy in the " Antique " School, 1845-6, but he 
never passed into the " Life." 

Among his fellow pupils at the Academy were Millais and Mr. 
Holman Hunt. In 1848 these three, along with four other friends, 
associated themselves under the name of the Pre-&aphaelite 
Brotherhood. On one side, the efforts of these young painters 
were directed to a strict study of natural detail, bat the side of the 
movement that Itossetti represents is the research oi. intense 
poetic expression. A half -conscious influence that adected their 
design and technique came to them from the German "Pre- 
Raphaelite " ixiovement, their direct knowledge of early Italian art 
being small. 

Bossetti had made some attempts at painting under Madoz 
Brown's tuition, but his first picture was painted under the 
technical supervision of Mr. Holman Hunt, in a studio they 
shared. This picture, " The Girlhood of the Virgin," was exhi- 
bited at the Hyde Park Gallery in 1849. 

In ld4d and 1880 he painted under the title of *' Ecce Ancilla 
Domiiii" H piciure of the Annunciation, which is now in this 
Gullery and described below. For some years after this period 
Bossetti, indifierent to the opportunities which artists usually covet 
for the display of their works, was content to exhibit his designs 
and pictures in the rooms of the Hogarth Club, a society of artists 
and amateurs, to which he belonged. 

His favourite subjects were derived from medisaval history and 
legends, early Italian poetry, and old English ballad literature. 
He only once diverged from such themes in the direction of 
modem story, and began the picture entitled '^ Found," illustrating 
a pathetic episode of humble life, in 1853. 

Meanwhile Bossetti had distinguished himself in the field of 
literature. It is said that he wrote a play in his childhood. It is 
certain that his translations from the early Italian poets were begun 



232 ROSSETTI. 

as early as 1845 or 1846, and shortly afterwards he published in 
their original form (which at a later period was considerably 
modified) his well-known works, ^^the Blessed Damozel'* and 
*' Sister Helen." He was the leading writer in " The Germ " in 
1850. His collected poems were published in 1870. 

In 1857 Bossetti contributed to the illustrated edition of 
Tennyson, and collaborated with Bume Jones, Morris, and others, 
in the decoration of the Union Debating Hall, at Oxford. Some 
of his finest design and drawing dates from this period. 

In I860 he married Miss Elizabeth E. Siddall, who had been 
his model and inspiration for some five years. She died two years 
later. 

In 1862 he executed several pictures in water-colours, among 
which may be mentioned '* Paolo and Francesca,'* "Bethlehem 
Gate," and the " Heart of the Night." These were succeeded by 
" Beata Beatrix," 1863 ; " H Bamoscello " (the bust length por- 
trait of a young and beautiful girl), *^ The Blue Bower," " The 
Beloved," a subject taken from the Song of Solomon, 1865-6. 
The " Lady Lilith " of 1864 marks the highest point reached in 
his oil-painting. In 1868 he painted as an altar-piece for LlandafE 
Cathedral " The Adoration of the Magi " with side wings repre- 
senting King David in youth and old age. Among the more 
important works of his maturer life are " Proserpine," 1874 ; 
" Dante's Dream " (now in the possession of the Liverpool Cor- 
poration) 1870, and " The Salutation of Beatrice," left unfinished 
in 1881. Many of his later designs are distinguished by manner- 
isms and peculiarities which have been attributed to his impaired 
health. He died on the 8th of April, 1882, and in the following 
year exhibitions of his pictures and drawings were held by the 
Royal Academy and by the Burlington Fine Arts Club. Drawings 
by Bossetti are to be found in the Print Boom (British Museum), 
and at South Kensington ; but the largest collection is that in the 
Corporation Gallery, Birmingham. 

^ No. 1210. " Ecce Ancilla Domini " (The Annunciation). 

In the comer of a humble room with whitewashed walls, the 
Virgin, clad in a linen garment, sits half raised from the bed on 
which she has been reclimng. B^ her side stands the Angel Gabriel 
draped in White. He holds a lily branch in his right hand, and 



ROSSETTI. 233 

raises his left as though in salutation, while a light yellow flame 
plays siround his feet. 

At the head of the bed is suspended a blue curtain. At the 
other end an embroidered stole hangs from a frame. In the back- 
ground is an open window through which the Holy Spirit enters in 
the form of a dove. 

The head of the Yirgin was painted from that of the artist's 
sister, the poetess Christina Bossetti; Thomas Woolner the sculptor 
sat for the head of the Archangel. Signed with initials and dated 
March, 1850. 

On canvas, 2 ft. 4 in. ^ by 1 ft. 4 in. to. 

Painted in 1849. 

Btohed by Engine Gktnjean. 

Purchased at the sale of the late Mr. William Graham's pictures in 
London, 1886, out of a fund bequeathed by the late Mr. John Lucas 
Walker. 

A No. 1279. Beata Beatrix (subject taken from the ^^ Yita 
Nuova " of Dante). 

BoBsetti's description of the picture is as follows : — 

" The picture illustrates the * Yita Nuova,' embodying symboli- 
cally the death of Beatrice as treated in that work. The picture 
is not intended at all to represent death, but to render it under the 
semblance of a trance, in which Beatrice, seated at a balcony 
overlooking the dty, is suddenly rapt from earth to heaven. 

Ton will remember how Daate dwells on the desolation of the 
dty in connection with the incident of her death, and for this 
reason I have introduced it as my background, and made the 
figures of Dante and Love passing through the street and gazing 
ominously on one another, conscious of the event ; while the bird, 
a messenger of death, drops the poppy between the hands of 
Beatrice. She, through her shut lids, is conscious of a dcw world, 
as expressed in the last words of the * Yita Nuova ' — That blessed 
Beatrice who now gazeth continually on His countenance qui est 
per omnia mecula benediciusJ* 

Beatrice (a life-size figure, seen to the waist) clad in a plum- 
coloured robe and bright green super-tunic, sits in a balcony, on 
the parapet of which is a sundial. In the distance is a bridge 
crossing the Amo. 

The frame is from the artist's design and bears the inscrip- 
tions, 'Jan. Die 9, anno 1290' and 'Quomodo sedet sola 
civitas.' The former refers to the date of the death of Beatrice ; 
this, and the hour of her passing, marked on the dial, had their 



234 ROSSETTI— ROTHENSTEIN. 

astrological symbolism for Dante (See Vita Nuova XXX). i*he 
latter, ' How doth the city sit solitary that was fall of people ; 
how is she become as a widow ! she that was great among the 
nations!' (Lamentation^ I- 1) S'l'e the words of Dante at the 
departure of Beatrice. The picture was painted by Bossetti In 
memory of the death of his wife, whose features are given to 
Beatrice. It was begun in 1863, but completed later, and is the 
original of which there are various versions. (See Mlitiliier, 
* Dante Gabriel Rossetti,* p. 88.) 

On canvas, 2 ft. 9 in. h. by 2 ft. If in, w. 

Engraved in mezzotint by F. Miller. 

Presented in 1889 by Lady Mount-Temple in memory of her husbandi 
Lord Mount-Temple. 

> No. 1702. " Eosa Triplex:' 

Three ladies leaning over a parapet ; each one holds a rode in her 
left hand. Signed with the monogram of the artist, and dated 1867. 
Bed chalk heightened with white, 1 ft. 8 in. h, by 2 ft. 4^ in. to. 
Bequeathed by Mr. John J. Lowndes in 1892. 

No, . Portrait of Mrs. William Morris. 

Three-quarter length, turned to her left, her face a little towards the 
spectator, seated at a table, her elbows resting upon it, and her hands 
dasped near her chin, before her a book of music with a brown 
and red cover. In a white glass vase are some white roses, and a 
tendril of the hop plant. The lady is dressed in blue, and wears 
gold chams round her neck and a gold bracelet on her riffht wrist. 
On the third finger of her left hand is a gold ring with a bright green 
stone. One carnation rests on the music-book, two others are 
plaoed in her green silk belt. Over a dark red hanging are the 
words: — 

JANE Morris A.D. 1868. D. O. Bossetti pinxit Conjuge clarA 
poetft, et praeclarifi&ma vultu, Denique picturd, clara sit ilia 
me4 I 

On canvas, 8 ft. 7 in. A. by 2 ft. 11 iD..tb, 
Lent by Mrs. William Morris. 



&OTBBNdTBtir (William). 
No. 2I16> Jews Mourning in a Synagogioe. 

The scene is a small Bussian " schul '' or synagogue. Seven men, 
two of them standing, the rest seated, and facing three-quarters to 
tlie rightj are grouped against the grey- washed wall of the room. 
They are mourning for the death of their '*Bav'' or Babbi. 



ROTHENSTEIN— SANDBY. 235 

They are draped in the customary '* talith " or praying-shawl, with 
its stripes of white and bltte-black. To the left hangs a curtain, 
embroidered in red and gold. 

On oanvas, 4 ft}. 1 in. A. by S ft. 8^ in. to. 

Exhibited at the New English Art Club in the summer of 1906, and in 
the autumn of the same year at the Jewish Exhibition in Whiteohapel. 

Presented, 1907, in commemoration of the Exhibition of Jewish Art 
and Antiquities, held at the Whitechapel Art GkiUery in 1906, by 
Mr. Jacob Moser, J. P., -of Bradford, through the Trustees of that 
galleiy represented by Canon Barnett and Sir Edgar Speyer, Bart., 
and a special committee represented by the Very Bey. Dr. Gfaster, The 
Haham of the Spanish and Portuguese Jews. 



(Walter Dendt). 
No. 155S. Thursday. 

A group of monks is engaged in fishing in a stream near their 

chnrch and monastery. One, in the middle, has hooked a large 

fish. The other monks stand round and watch the struggle with 

▼aried expressions of interest. Signed and dated, W. Dendy 

I Sadler. 80. 

On oanyas, 2 ft. 9| in. A. by 4 ft. 7 in. to. 
' Exhibited at the Boyal Academy in 1880. 

I Tate Gift, 1894. 

No. 155tB. A Good Story." 

i 

A Frandscan friar is seated at the hearth of the refectory of a 

I Dominican monastery with the remains of his repast before him : 

i two of the brothers sit listening to his story. Signed and dated 

W. Dendy Sadler— 81. 

On canvas, 1 ft. 11} in. k, by 2 ft. 74 in. to. 
Tate Gift, 1894. 



(Paul), A.a. 

B. 1726. D. 1809. 

Paul Sandby, called the father of water-colour painting, was 
bom at Nottingham, in 1725. At the age of sixteen he obtained 
work at the Military Drawing OfiQce in the Tower of London. 
After the rebellion of 1745, he assisted in the Military Sur^y of 
the Highlands, under Colonel David Watson. Sixty-eight draw- 
ings made by Sandby, in Scotland, are in the Print Room of the 



236 SANDBT. 

British Museum. He quitted the service of the Survey in 1751, 
and for a time took up his abode with his brother, Thomas 
Sandby, at Windsor. He made a number of drawings of the 
Oastle and neighbourhood ; many of them are now in the Royal 
Library. He had began to practice etching when in Scotland, 
and now published a series of eight plates illustrating the works 
at Yirginia Water'^from drawings by his brother. Sir Joseph 
Banks, P.B.S., purchased some of his drawings, and Sandby 
accompanied him to Wales, sketching the chief castles and the 
picturesque scenery of that country. Sandby published several 
series of etchings, including the first aquatints engraved in 
England, "Twelve views in aquatint, from drawings taken on 
the spot in South Wales," 1775. He obtained the secret of this 
art from the Hon. Charles Greville, who purchased it from John 
Baptist Le Prince, a French artist. Sandby improved the art, 
and wrote a paper on the subject. He also etched and published 
some caricatures, entering the lists with Hogarth himself. In 
1760 he was residing in London, and assisted in the movement 
resulting in the foundation of the Royal Academy, of which he 
was one of the original members. He was appointed Chief 
Drawing Master at the Royal Military Academy, at Woolwich, a 
position he retained until 1796, when he retired with a pension 
and his son succeeded him in the post. Four of his drawings 
are in the Governor's office. He was appointed Deputy Librarian 
to the Royal Academy in 1799, and presumably held the post 
until his death on November the 7th, 1809. Eleven of his draw- 
ings are in the Yictoria and Albert Museum, South Kensington, 
and a large number are in the collection of Mr. William Sandby. 
The majority are outlined with the pen and shaded with Indian 
ink, the local colour washed on thinly afterwards. As his art 
developed, the washes of local colour became stronger and more 
true to nature, until his latest works approximated to the style of 
modem water-colour painting ; he also painted frequently in 
opaque body colour tempered with glue. 

No. 1853. ''Edinburgh Castle:' 

This drawing was made about the vear 1750, when Paul Sandby 
was draughtsman to the Survey of the Highlands, which was com- 
menced tSter the suppression of the Rebellion in 1745. The rock 
on which the castle is built is partially surrounded by a sheet of 



SANDBY. 237 

water, the North Looh, now drained and filled up ; on the right 
are«ome men with a horse and cart tipping rubbish as though the 
filling up had already begun ; on the hill to the left is a white 
octagonal building, the house of Allan Ramsay. 

On paper, opaque water colour, 1 ft. 2 1 in. A. by 1 ft. 9 in. w. 
Presented by Mr. William Sandby, in 1901. 



9> 



No. 1854. ^^ Carmarthen Castle, 

The castle is situated on the end of a bridge, which crosses the 
river Towy. The rapids rush through the archway on the right; 
three trees are on the left, and a fisherman in a red coat walks 
along the bank of the river in the foreground. 

On paper, reed pen and brown ink, with grey shadow stinted with 
water-colour washes, 11| in. A. by 1 ft. 7 in. to. 
Presented by Mr. William Sandby, in 1901. 

No. 1855. Part of the Banqueting Hall of the Royal 
Palace of Eltham. 

The end of the ruined building, showing a door and two 
bricked-up windows, is on tne left of the drawing. On the right 
are a brick and plaster cottage, and a group of cottagers and their 
dog. Some trees and another cottace are seen in the middle 
distance, and a man is mounting his horse with the aid of a horse- 
block near a high wall. 

On paper, water colour, 10 in. A. by 1 ft. 2^ in. io. 
Presented by Mr. William Sandby, in 1901. 

No. 1856. The Cemetery Gate of St. Augustine's 
Monastery y at Canterbury^ 1782, 

The castellated gateway with two octagonal towers is in the 
centre of the drawing, in a wide street ornamented with trees - 
two horsemen eoteriug the city by the wooden bar, are discom- 
posed by their steeds kicking and shying at a sow with her litter, 
which are being driven through the bar at the same time by a 
countryman in a white smock. Signed, P. Sandby. 

On paper, pen and grey colour, used also for shadows, and water- 
oolour washes, 1 ft. f in. ^. by 1 ft 8 m. \d. 
Presented by Mr. William Sandby, in 1901. 



(Thomas), A. a. 
B. 1721. D. 1798. 
Thomas Sandby, the elder brother of Paul Sandby, was an 
architect ; he was born at Nottingham in 1721. A view of that 



238 SANDBT. 

town, drawn upon a new system of perspective he had elaborated, 
first brought him into notice. At the age of twenty he obtained 
work ftt the Military Drawing Office in the Tower of London. 
In 1743 he was appointed private secretary and draughtsman to 
H.B.H. William Augustup, Puke of pumberland) and be accom- 
panied him in his campaigns in Flanders and in Scotland. As 
draughtsman to the chief engineer for Scotland, he was at Fort 
William when Prince Charles Edward landed in 1745, and Sandby 
was the first person to convey intelligence of the event to the 
Government ; he accompanied the Duke in his expedition to check 
the rebellion. There is a drawing by him of the battle of Cullodon, 
in the Boyal library at Wif^^of* '^^^ P^ke sej^^d Thomas 
Sandby to be his deputy ranger of Windsor Gre^t Park, and be 
was much occupied with the construction of Yirginia Water and 
other alterations. A number of drawings and plans illustrating 
the works are in the Royal Library and in the Soane Museum, 
Lincoln's Lin Fields. Like his brother, he was one of the original 
members of the Boyal Academy, and he was elected first Professor 
of Architecture to that body. Hid first lecture was delivered on 
the 8th of October, 1770, and he repeated the series with augmenta- 
tions and many illustrations annually until his 4<^th. The original 
manuscript of his lectures is in the Library of the Boyal Institute 
of British Architects. His only known building in London is the 
Freemasons Hall, Queen Street, a sketch for which is in this 
gallery. The title of Grrand Architect was conferred upon Sandby 
at the opening ceremony. He designed an pak altar-screen for 
St. George's Chapel, Windsor, and a new stone bridge over the 
Thames at Staines ; both these works )iave now been superseded. 
Several houses near Windsor are from his designs, amongst others 
St. Leonards Hill for H.B.H. the Duchess of Gloucester, and 
Holly Grove for Colonel Peacon. He was also engaged upon the 
Bleach Works at Llewenny, Lord Portarlington's house in Lreland, 
and the King's Booth on Ascot Heath. In 1777 he was appointed 
conjointly with James j!^dai,v(i to th^ post of architect to his 
Majesty's Office of Works. He died on the 25th of June, 1798 ; 
there is a tablet to his memory in Windsor Parish Church. 

No. 18^2. Ths De^igf^ for Freernasons Hall, London. 

The sketch for t|ie interior of the Freemasons Hall, in Queen 
Street, Lincoln's Lin Fields. The barrel vaulting rests upon a cornice 



SANDBY— SCHEFFER. 239 

and entablature supported by pilasters and Anted columns. Over 
I the entablature on each side of the hall is a range of semi- 

circular windows, which are placed thus high in order to prevent 
I the masonic ceremonies being overlooked by the adjacent houses. 

I Several figures are walking about the hall in the foreground. The 

I foundation stone of this hall was laid on May Ist, 1775, by the 

Grand Master, Lord Petre, and the hall was opened on May 23rd, 
1776, when ihe title of Grand Architect was conferred on 
Thomas Sandby. A larse new hall has been built, and the old 
one, from Thomas Sandby*s design, appropriated as the Grand 
Chief Temple of the Order. It was partially destroyed by fire 
in 1883, but has been completely restored. Signed T. Sandby. 
inv. 

On paper, pen and Indian ink, with thin washes of water colour 
1 ft. 2i in. ^. by 1 ft 2i in. t^. 
Presented by Mr. William Sandby, in 1901. 



(John Singer), &.A. 

No. 1915. Carnation, lAly, Lily, Rose. 

Two children in white frocks are engaged at twilight in 
lighting son^e Japanese kmiems hansing in a garden of liHes, 
roses and carnations, signed at the top left-hand comer, 
John S. Sargent. 

Exhibited at the Boyal Academy in the year 1887. 
On canvas, 6 ft. 7| m. h. by 4 ft. 11 in. w, 
Ghantrey Purchase, 1887. 

No. 2053a Miss ElUn Terry, as Lady M(icheth. 

Miss Ellen Terry as Lady Macbeth holding the crown of Duncan 
over her head, the gold reflecting a red glow on to the palms of 
her hands. She is wearing the robe of metallic blue with long 
green sleeves decorated all over with iridescent beetle-wings, de- 
signed for Sir Henry Irving's revival of the tragedy at the Lyceum 
Theatre. This picture was in the collection of Sir Henry Irving. 

On canvas, 7 ft. 2 in. A. by 3 ft. 8 in. w. 
Presented by Sir Joseph Buveen, 1906. 



B. 1795. D. 1858. 

Ary Scheffer was the son of John Baptist Scheffer, Oour 
gainter at Amsterdam, and was bom at Dordrecht in 1795. He 



240 SOHEFFER 

( 

displayed an early taste for drawing, and is said to have exhibited 
a picture at the age of twelve. On the death of his father in 1809, 
the edacation of Ary and his two brothers devolved upon Madame 
Soheffer, who removed with her young family to Paris, where Ary 
became a pupil of Pierre Gu^rin. In 1816 he obtained the great 
prise for painting at Antwerp, the subject of his picture, which is 
still preserved in the Antwerp Museum, being " Abraham and the 
three Angels." His reputation as an artist was greatly enhanced 
by a work which he executed in 1822, " The Shades of Francesca 
da Rimini and her lover appearing to Dante and Virgil." Twenty 
years later this picture was sold for 43,600 francs. 

In 1824 he painted *' Gaston de Foix found dead after his 
Victory at Ravenna," and in the following year, '^ Suliot Women 
vowing to precipitate themselves from the rocks after the defeat 
of their Husbands." In 1839 appeared his well known picture of 
<< Dante and Beatrice." Among the subjects of his later works 
were several of a sacred character as, for instance, " Christ the 
Comforter " in 1837 ; « The Adoration of the Magi " in 1841 ; 
'* Mary Magdalen " and " Christ bearing His Cross " in 1845 ; 
<< Christ and the Holy Women " in 1846. One of his largest 
works in this line of Art was "The Temptation of Christ by 
Batan," which has been engraved. 

Ary Scheffer died at Argenteuil near Paris, on the 15th of 
June, 1858. 

No. 1189a Portrait of Mrs. Robert Holhnd. . 

Life size. Dressed in a white linen robe open at the neck, and 
a rose-coloured mantle thrown over the left shoulder. Back- 
ground of blue sky. 

On canvas, of oval form, 2 ft. 6^ in. h, by 1 ft. 10| in. to. 
Bequeathed by Mr. Robert Hollond in 1885. 

No. 1170. St. Augustine and St. Monica. 

At a balcony open to the sky, St. Augustine, draped in a brown 
pallium thrown over a pale crimson tunic, sits by his mother, 
who is clad in the white robes of her sisterhood. She holds his 
left hand clasped in hers, and the eyes of both are turned heaven- 
ward. 

On canvas, 4 ft. 5^ lu. A. by 3 ft. 5^ in. w. 

Bequeathed by Mr. Robert Hollond in 1886, whose wife sat to the 
artist for the features of St. Monica. 



SCOTT. 241 

8P0TT (WiLUAM Bell). 
B. 1811. D. -1890. 

Wffiam Bell Scott, the son of a well-knawn Scottish engraver, 
was bom at Edinburgh in 1811, and reeeived his early education 
at the High School in that city. From his father and elder 
brother David (who alsp was a painter) he derived an elementary 
instruction in art, which he followed up as a student at the 
Trustees' Academy. At the age of twenty he came to London, 
where he devoted himself to drawing from the antique at the 
British Museum. It was not, however, until 1840 that he sent any 
picture to a London exhibition. The Suffolk Street Gallery 
received his first works, viz. : — " The Jester,'' " The WUd Hunts- 
man," and " King Alfred disguised as a Harper." A few years later 
he began to exhibit at the Royal Academy and the British Listitu- 
ti(m, wh^re his pictures appeared at intervals up to 1869. Mean- 
while he competed at the exhibition of cartoons in Westainster 
Hall, bat ebti^ed no prize. His ability, however, attracted 
suffieimit noiiee to obtain for him an appointment of some im- 
portance in connection with the Government School of Art at 
STewcasi^e-on-Tyne, and during many years of his life he was 
recognized as an au^ority in matters pertaining to industrial art 
and decorative painting. In 1857-8 he was commissioned by the 
late Sir Waiter Trevelyan to execute at Wallington Hall a series 
of ^ght j»etures illustrating the history of Northumberland. " The 
Sing's Quhair" supplied him with subjects for another series of 
mural paintingB, which decorate the walls of a staircase at Penkill 
Oaatle, G4rvan, the residence of his friend. Miss Boyd. 

Scott enjoyed the friendship- of Rossetti, and like that painter, 
found time for literary work, both as an essayist on Art, a 
biographer, and poet. In 1887 he was elected an honorary 
member of the Boyal Scottish Academy. He died at Penkill on 
the 22nd November 1890. 

No. 1322. The Eve of the Deluge. 

*' There was marrying and giving in marriage till the day when Nod 
entered the.ark, when the waters came and carried them all away." 

On the terrace or upper gallery of an ante-diluvian palace, 
overlooking a plain, an eastern prince sits caressed by his wife. 

Q 



242 SCOTT— SBDDON. 

and surrounded by his retinue, on a raised platform bordered with 
flowering plants. At his feet tiger-cubs gambol. The empty 
goblet in his hand, and a rudely fashioned harp held by a female 
Blave, suggest a recent banquet. Two of the male attendants, 
bending over the balcony, on which a jar of incense is burning, 
watch with expressions of amusement and curiosity the family of 
Noah, who are entering the Ark. From the horizon a dark and 
ominous cloud is seen rising into the sky. 

On canvas, 12| in. A. by 1 ft. 5^ in. w. 

Presented by Miss Alice Boyd in 1891. 



SZSDDON (Thomas). 

B. 1821. D. 1856. 

Thomas Seddon was bom in London, in the parish of St. Botolph, 
Aldersgate, on the 28th August 1821. He was brought up by his 
father, the eminent cabinet-maker, to his own business, but he 
f oUowed more especially that department to which his natural dis- 
position led him, namely, the making of designs for furniture. In 
his capacity of designer he gained the sUver medal of the Society 
of Arts in 1848. In 1850 he was mainly instrumental in found- 
ing the "North London School of Drawing and Modelling" in 
Camden Town, revived in the ^Working Men's College, Great 
Ormond Street ; and he was, in common with Ford Madox Brown, 
a zealous teacher at that school. 

In 1851 Seddon finally adopted painting as his profession. His 
first important picture, " Penelope at her Web," appeared in the 
Boyal Academy exhibition of 1852 ; but he subsequently devoted 
himself exclusively to the department of landscape. 

In 1853 he accompanied Mr. Holman Hunt to the East, whence 
he returned in 1854, with two finished pictures, the " Pyramids of 
Ghizeh," and the "Jerusalem" now in this collection, besides 
many careful sketches of eastern life and localities, which were all 
exhibited together, after his death, in the large room of the Society 
of Arts, in the spring of 1857. He died at Cairo, November the 
23rd, 1856, having set out on a second journey to the East in 
October of that year.^ 

* Society cfArts Journal, June 1867. 



SEDDON— SIMMONDS. 243 

No. 863a Jerusalem and the Valley of Jehoshaphat 
from the Hill of Evil Counsel. 

On the left are seen the modem walls of Jemsalem and the 
mosqne of El Aksa on mount Moriah, assumed to be on the site 
of the ancient Temple ; to the right, the Mount of Oliyes and the 
Tillage of Siloam. The sleeping figure under the pome|pranate 
tree represents the painter's Syrian servant reposing dunng the 
heat of the day.^ 

On oanyas, 2 ft. 1 in. h, by 2 ft. 8 in. to. 

Painted on the spot in 1854 ; the painter was oooupied five months 
in its execution. 

Presented by an association of gentlemen in 1867. 



SHANNON (J. J.), A.A.A. 

No. 1901. The Flower Girl. 

A flower girl, who is narsing her baby, is'seated under the shade 
of a plane tree ; the sun glances through the leaves and lights on her 
cheek and neck and on her cotton gown. She wears a black hat 
and shawl, and her left arm supports a basket of roses. Signed, 
J. J. Shannon. 

On canvas, 2 ft 8} in. A. by 2 ft. If in. to. 
Exhibited at the Boyal Academy in 1901. 
Chantrey Purchase, 1901. 



SIMMONDS (William GEORas). 
No. 2139. The JSeeds of Love. 

A youth, wearing tunic and hood, scatters seeds in the furrows 
of a field bordered by tree steins, among whose roots grow prim- 
roses. Grows hover and alight behind him. Leaning against a 
tree with her back to the sower is a young shepherdess with crook, 
and beyond her a field with a flock of sheep. 

Water oolour, 1 ft. 9^ in. h, by 1 ft. 4 in. to. 
Exhibited at the Boyal Academy, 1907. 
Ghantbet Pubohase, 1907. 



* This unfortunate yonth was, shortly after Seddon's visit, poisoned by 
his stexnaother ; he having sncceeded in gaining the affections of a girl his 
stepmother intended to marry to her own son. 

(B.A) Q 2 



244 SMALL— SMYTHE. 



(William). 

No. 1595- The Last Match. 

On an open moorland an Irish peasant is lighting hu ^pe by a 
match which a girl is shading from the wind with her cloak. A 
pig is pulling at the cord by which it is tied to the old man's ana. 
Signed, W. SoiaII 1887. 

On canvas, 4 ft. 3^ in. h, by 3 ft. 3^ in. w. 

Exhibited at the Royal Academy in 1887. 

Ghantrey PorchaBe, 1887. 



(Sidney, R. J.). 

No. 1742. Original Design for the National Gallery of 
British Art. 

A perspective view of the first design for the front elevation, 
with a nrdt door plan in the top left hauod comer. Signed, Sidney 
R. J. Smith, F.R J.B.A., Architect. 

Exhibited at the Royal Academy in 18d3, and at the Salon in Paris in 

1894. 

Pen and ink, 1 ft. h, by 2 ft. 1 in. to« 
Presented by the artist in 1900* 



(LlONBL), 

No. 1709. Oenninal. 

A field full of daisies and other wild flowers. A sturdy young 
boy in a white pinafore stands with his back to ns and puts some 
green stuff into a basket, held by a girl in a pusk cap, blue gown^ 
and lighter blue apronu A puppy barks at some ducks wlio pcsoteot 
their fluffy brood. At the bade are four mares, each whh bar 
foal ; and over the budding trees is a red house with a turret, and 
a walled garden, near the red out-buildings. Signed, L. Smythe, 
1889. 

Water-colour, 1 ft. 11 in. h, by 1 ft. 5^ in. to. 
Exhibited at the Royal Academy in 188d. 
Ghantrey Purchase, 1889. 



SOMERSOALES— BTANFIELD. 245 

(Thomab). 



No. 1773* O^ Valparaiso. 

On a dark blue rolling sea under « clear sky, a f oar-masted 
iron ship is seen to the right, taking in sail and hailing a shore 
boat with a brightly dressed crew which is being rowed towards 
her. The low lying coast of Chili is on the left horizon. 

On canvas, 8 ft. 2 in. K, by 5 ft. 11 in. w, 
Exhibited at the Eoyal Academy in 1899. 
Chantrey Purchase, 1899. 



(Harold). 
No. 1964. The Alcantara^ Toledo^ by Moonlight 

Two hiffh arches of the Alcantara bridge over the river Tagus 
are bathea in bright moonlight. On the right a lamp lights up 
the gate of the bridge at the entrance to the city of Toledo. A 
covered cart drawn by three mules crosses the bridge, the road seen 
in the distance winds round the castle hill to the railway station. 

On canvas, 2 ft. h. by 3 ft. to. 

Chantrey Purchase, 1905, 



(Clareson), S.A. 
B. 1793. D. 1867. 

Glarkson Stanfield was bom at Sunderland, in the county of 
Durham in 1793. He commenced life as a sailor, but was still young 
when he took up painting as a profession. He began his art career as 
a scene painter at the Boyal Theatre in Wellclose Square ; and iu 
1824 he became a member of the Society of British Artists. In 1826 
he was engaged as scene painter at Drury Lane Theatre ; and in 1827 
he exhibited a picture at the British Institution of ^^ Wreckers off 
F<Mrt Bouge," by which he added a new renown to his great 
reputation as a scene painter. He first appeared as an exhibitor 
at the Boyal Academy in 1829, with a " View near ChSlons sur 
Saone " ; which was succeeded in the following year by his fine 
picture of " Mount St. Michael, Cornwall.*' In 1831 he exhibited 



246 STANFIELD. 

"A Storm," "Stragburg," "Venice," and "A Fisherman of 
Honflenr." In 1832 he exhibited " The Opening of New London 
Bridge," and was this year elected an Associate of the Royal 
Academy : in 1835 he became an Academician. In 1836 he 
exhibited his " Battle of Trafalgar," painted for the Senior United 
Service Club ; and from that time mitil his death on the 18th of 
May 1867, with the single exception of 1839, he continued without 
intermission to adorn the walls of the Academy with a series of 
marine subjects, interspersed occasionally with some important 
works of a more exclusively landscape character. Altogether 
Stanfield exhibited 132 pictures on the walls of the Boyal 
Academy, in 38 exhibitions, extending over 39 years. 

No. 404. Entrance to the Zuyder Zee^ Texel Island. 

On a lively sea off the coast a number of vessels of various 
descriptions are sailing to and fro under a brisk breeze. To the 
right, on the north-eastern extremity of the island, is an old mill; 
and a projecting jetty occupies the middle of the picture. 

On canvas, 3 ft. 8| in. h, by 4 ft. 1^ in. to. 
Engraved by B. Wallis. 
Bzhibited at the Boyal j/^xsademy in 1844. 
Yemon Oolleotion, 1847. 

No. 405- The Battle of Trafalgar^ and tlie Victory of 
Lord Nelson over the combined French and Spanish 
Fleets, October the 21st, 1805. 

Sketch for the large picture painted for the Senior United 
Service Club ; exhibited in 1836. 

"The picture represents the centre of the combined fleet, at 
half -past 2 o'clock, about an hour and a half after Lord Nelson 
received his death wound. The Victory^ the ship which bore 
his Lordship's flag, after sustaining a heavy fire from four of 
the enemy's ships, is in the act of disengaging herself from the 
Redoubtable, a French 74, at that time la^ed alongside the 
Temeraire, a British 98, and at that moment the Fougueux, another 
French 74, became the prize of the latter. On the Idtt of the 
spectator is Yice- Admiral Collingwood, in the Royal Sovereign, 
with her prize, the Santa Anna, totally dismasted, and the otiier 
ships on the lee division. On the right of the Victory is the 
Bucentaur, a French 80 (Admu-al Yilleneuve's), with her main and 



STANFIELD— STANLEY. 247 

muen mastH shot away, and the SanUsHma Trinidad^ a Spaniab 
f onr-deoker, both ships unmanageable wrecks."* 

On wood, Ift Siin. h. by 2ft. T^in. lo. ' 

Painted in 1888. 
Engraved by J. Oonsen. 
Vernon Golleotion, 1847. 

No. 40C The Lake of Gamo. 

** And now the pmple mists 
Biae like a cnrtafn; now the son looks out. 
Filling, o'erflowinff with his glorious light 
This noble amphitheatre of hills; 
And now appear as on a phosphor sea 
Numberless Durks, from Milan, from PAVIA: 
Some sailing np, some down, and some at rest; 
Lading, nnlading, at that small i>ort-town 
Under the promontory— its tall tower 
And long flat roofs, Just snch as OASPAB drew, 
Canght By a son-beam starting through a clond, 
A qnay-like soene, glittering and f nil of life. 
And doubled by reflection.*' 

—Boger^i** Italy, i 
On wood, 1 ft. 6iin. h. by 2ft. GJin. to. 

Painted in 1825. 

Engraved by J. Ooosen. 

Vernon Golleotion, 1847. 

No. 407. The Ganal of the GHudecca^ and Ghurch of the 
Qesuati^ Venice. 

In the background is a distant view of the Alps under a summer 
sky fleoked with clouds. The church and other buildings line the 
canal on the right, and a carefully composed group of boats leads 
the eye to the distimce on the left. 

On oanTas, 2ft. A. by 2 ft. 11} in. lo. 
Painted in 1886. 
Engraved by J. Gousen. 
Vernon Golleotion, 1847. 



(Dorothy Tennant) 
No. 1567. Hie First Offence. 

Signed and dated, Dorothy Stanley, 1896. 
On canvas, 1 ft. llf in. Ar. by 1 ft. 1 in. to. 
Exhibited at the New GkJlery in 1896. 
Added to Tate Gift, 1894. 

* Boy<a Academy Catalogue^ 18S6. 



848 STARK. 



(JAMfeS). 
B. 1794. D. 1859. 

James Stark was the son of a master dyw tA Notwieh, where he 
was bom in 1794. Having shown at an early age an aptitode for 
drawing, he was articled by his father to John Grome, the weU- 
known landscape painter, under whose tuition he remained for 
three years. 

From the foundation of the Norwich Bodety of Artists in 1803, 
that town may be said to have possessed a school of art, to which 
the two Oromes (senior and junior), Yincent, Ootman, and others 
belonged. They established an annual exhibition, probably the 
first of its kind held in the provinces. &ut the county of 
Norfolk afforded little patnmi^ to loeal Bit. Many of the 
landscapes exhibited by the elder Orome and his gifted pupil 
failed to attract purchasers at Norwich, though they met with 
a ready sale in the metropolis. In due course young Stark 
came to London, where he studied figure drawing, and in 1817 
he was admitted a student of the Royal Aeadeiny. About 
the same time he exhibited at the British Institution a picture 
entitled *^Boys Bathing," which was bought by the 15ean of 
Windsor. This was followed by other works. Vis. :-^" flounder 
Fishing," ^* Penning the Flock," and a view of " Lambeth, loc^dng 
towards Westminster Bridge," the exeellenee of whieh see«n^ him 
a prize of 50Z., awarded by the British Institution, and led to eom- 
missions from Lord Northwick, Sir George Beaumont, Sir ^rancia 
Freeling, and other distinguished connoisseurs. 

Unfortunately, in the full tide of his success he was com|)6lled 
by the state of his health to return to Norwich and abandon work 
for three years. In 1827 he undertook the publication of a large 
and costly work intended to illustrate the scenery of the rivers 
Tare and Waveney, in Norfolk. The plates were executed by 
Goodall, George and William Cooke, and other engravers. This 
work met at first with no remunerative sale, and might have 
involved pecuniary loss, but for a change of publii^ers, wfaidi had 
the effect of increasing the demand for copies. In 1890 Stark 
came back to London, where he lived ten yesrs, removing m 1840 
to Windsor, where the woodland and river scenery afforded ample 
and congenial subjects for his brush. At a later period, and for 



STARE. 849 

the sake of his son's ediMUlkni in MFt, be ^ngfAtk retomed to London, 
where he died on the 24tii of March, 1869. 

NclftMk^ Th» Vmiky of Uie Tare, near Thorpe, 
Norwich. 

A cornfield, on nndnlatinfl ground, skirted by a road and over- 
lookiiig level cotmtfy in wmch tneadow-land and tree plantations 
alternate. In fbe foreground to the right is a oart wfaioh reat>erB are 
Ming with iHMatfllieanres, while o^er rustios reeline on the groimd. 
Xb tbii auiddie distBAee to the Mt is a ruined ohurch flaHi»d by 
trees. The landsoa|>e has a low horizon, with a luminous sky, 
aoross which large grey clouds are drifting. 

Ob oanyas, 2 f 1. 10| ia. A. by 4 f t. 6| in. to. 

ftil^NVfed fey H. J. SkriMsbtxe. 

Babilitted emmt^ other weriM by d eceased Britudi Artists at 
Barlingtofi JSouse ia 1976. 

Purehased in 1886 ixom. Mr. A, J. Btark (son of the painter) out of 
a pecuniary bequest made by the late Mr. Richard Charles Wbeeler. 

No. i&3LS4- Woody Landscape. 

A ^Ih crforls itom. the middle of tiie faregrovud and turns 
towaras the left into a elun^ of ^tik and birch trees. A woman, 
a boy, and a girl pass under cbe trees carrying firewood. To the 
left in the foreground is a pond, to the right a donkey with a 
foaJ, and behind these marsny country leads to low bills on the 
horizon. The sky is cloudy. 

Canvas, 1 ft. 8^ in. h, by 2 ft. 10 in. w. 

Bequeathed by Mr. fienry Caloott Brunning, 1907. 



E. (BoBesT). 
1^0. X^Mm Indian Rhinoceros. 

A tliiiioceros tfarosts forward his great homed snout and 
inampiee on palm leaves ; inscribed, B. Stark, May 8*7. 

BHmse, S ft. 5 in. 2. 1 ft. 6 in. A., ineltidiag l^e broaie jdinth, 
whieh is 2 ft. 2 in* 2., 11 la. to., and li in. A. 



at the Royal Academy in 1899. 
Q^^fSB^BKf^ Puxebase, 1892, 



250 STEVENS. 



(Alfrbd). 
B. 1818. D. 1875. 

Alfred SteTens, painter, sculptor and designer, was bomjit 
Blandford in Dorsetshire in 1818 ; his father was a sign and 
heraldic painter. As soon as he left school, when he was ten years 
of age, he assisted in the workshop. His paintings attracted the 
notice of some of the neighbouring gentry and he was sent to 
Italy to study. He landed at Naples in Ids fifteenth year with 
some 60Z. in his possession. Although he had been instructed to 
study the works of Salvator Rosa his originality and good taste 
made him turn to the work of the School of Giotto in the 
Incoronata. Many of his careful pencil studies from the primitiye 
masters still exist ; he also made sketches of the excavations at 
Pompei. He visited Rome, Siena, and Florence, where he 
remained three years, copying for the dealers, studying the 
frescoes and measuring the fronts of the palaces. In 1839 
he* was in Milan studying ornament under AlbertoUL Return- 
ing to Rome in 1840 he was obliged for want of money to 
take a post as clerk of the works to a builder. During the next 
two years he worked as assistant to Thorwaldsen, the sculptor, 
whom he called his only master. Stevens returned to England in 
1842, the most thoroughly educated artist the country has seen, 
and was appointed Professor to the new School of Design at 
Somerset House. He resigned in 1847, but his teaching has left 
its mark upon the best school of art work at South Kensington to 
this day. He inaugurated a method of desiga that combined the 
manners of Pompei and the Cinque Cento in his works at a house 
called Deysbrook, near Liverpool, and for Don Christobal de 
Murietta in Kensington Palace Gardens. His designs for stoves 
and fireirons made Messrs. H. E. Hoole and Co.'s exhibit at the 
Exhibition of 1851 a special feature in applied art. The principal 
work of his life was the Wellington Monument in St. Paul's ; he 
entered for the preliminary competition in 1856 (model at South 
Kensington), and received only the sixiih premium ; but in 1857 
the commission was given to him ; it occupied him for seventeen 
years, and was practically completed when he died at Haverstock 
Hill in 1875. Though originally designed for its present position 
this monument stood in the Consistory Court where it was very 
badly seen untU 1893, SteTens designed an equestrian status to 



STEVENS. 251 

gnrmoimt the whole, but it has not been placed in position as yet. 
He also designed four mosaics of Prophets for the spandrels 
nnder the Dome of St. PauFs, and a scheme for sculpture and 
painting in the Dome, which was not carried out. Ooncorrently 
he worked at the decoration of Dorchester House, Park Lane, for 
Mr. Holf ord, completing two chimney pieces (one with supporting 
marble figures), a buffet, and other parts of a splendid scheme. 

No. 177S. Portrait of Mrs. Mary Anne CoUmann. 

A life-size half-length and full-face portrait of the wife of 
Leonard Oollmann, the architect. Her golden hair is arranged in 
ringlets in the fashion of the early Victorian period ; she wears a 
silk dress of amethyst colour with a narrow ruff round the neck 
joined in front by an antique cameo brooch, there is also a cameo 
of a woman's figure attached to her waist and to a gold chain that 
hangs from her neck ; a cloak with a white satin lining falls from her 
shoulders, she sits in a room with dark green walls, white woodwork 
and a white mantel-shelf on the left. 

On canvas, 2 ft. 3| in. k, by 1 ft. 9} in. to. 
Purchased in 1900. 

No. 1846. Isaiah. 

A cartoon for the mosaic on a spandrel under the dome of 
St. Paul's Cathedral. The date of the design was 1862 ; the com- 
pleted mosaic was uncovered July 22, 1864. 

The prophet sits on a stone throne and is stooping eagerly 
forward to read a message on a stone table supported by an a^;el 
on the left, another angel holds a tablet on the right. The 
gaberdine of the prophet is blue and a light red mantle falls from 
his shoulders. The angels are clothed in amethyst coloured 
raiment and their wide spreading wings are dark blue with bright 
red. A tablet tied to the step of the throne with p ~~xl rope b^rs 
the name ** Isaiah " in large letters. 

On paper, 15 ft. 4 in. h. by 26 ft. to. 
Presented by Mr. Charles J. Knowles, 1897. 

No. 19Z2. Judith. 

The head and shoulders of the Jewish heroine are seen in 
profile. She looks upwards, and her hands clasp the nilt of a 
two-banded sword. 

On panel, 9 in. h, by 7 in. u>. 

Purchased in 1903 out of the Lewis Fund. 



252 STEYEVB. 

No. IMA. Knig Alfred emd hi8 MoOier, 

The yonug prince, locrtdng np into his mother's face, is point- 
ing to a Iftree book fadd open npoa her lap. The Queen bends 
fepwurd with smiling eyes and ht^-open lips zeady to answer 
his qaestiofi. In ihe badi^;roiind an attendant in a green tanic 
leans forward to look at the passage indicated. 

On panel, painted in a oirole, 1 ft. 1^ in. in diameter. 
Purchased in 1903 out of the Lewis Fund. 

No. 1997« Tha Angel announcing the birth of our 
Lord to the Shepherds, 

A Innette design for St. Geoxge's, Hanover Sqnare, never 
exwnied, reprresenting the angel announcing to the shepherds the 
birth of CfarJat. " And lo, the a^gel of the Lord came upon them, 
and the glory of the Lord shcme round about them, uid they were 
sore afraid." The angel surrounded by clouds of {[lory appears in 
the eentre of the composition, his right hand pointing heavenwards 
and his left stretched out in ^Uowship towards the shepherds, who 
are gronped on either 8ide worBbiping or shading their eye. from 
the light. 

On card in the form of a lunette, 9^ in« k. by 3 ft. i in. to. 
Purchased in 1905 out of the Lewis Fund. 

No. 1958. Study for a standing female jfigure. 

A red chalk drawing of a woman ascending an incline, her right 
hand pointing upwards. 

A study for a figure on the cove of the ceiling for a room in 
Dorchester Homo. 

Ob paper, in red chalk, 1 ft. S^ in. Ar. by 10 in. lo. 
PurohaMd in 1906 out of the Lewis Fund. 

No. ftOOSa A study of a nude female figure seated. 

A node female figure, seated, with her arms tied behind her, a 
study for the central figure of the oonposition fonr versions of 
which are seen at the foot. 

Lead pencil, 1 ft. h. by 9| in. w. 

Purchased in 1905. Nos. 2003-2052 inclusive were purchased out of 
the Lewis Fund. 

No. 2004. Centaur and Triton. 

A centaur clubbing a triton who is vigorously defending himself 
with his fists, designed for an octagonal space, and squared for 
transfer. 

Lead pencil, 6 in. A. by 7 in, w. 

Purchased in 1905, 



STEVENS. 3S8 

No. 200Sii Studies Jbr the "* Imiah '' Oartoan. 

An alternative study for the aagiel oa the Iftft^ 
Lead pencil, 3f in. A. by 6^ in. to. 

An alternative of the f;[eneral composition. 

Lead pencil, 6^ in. h. by 1 ft. w,, in the form of a spandreL 

Purchased in 190&. 

No. 20dC Sttidy for an Angel in the ^lecdah,^^ 

A stady for the angel on the right, holding a tablet^ sqnared for 
enlargement. 
Lead pencil and red chalk, II in. h, by 8} in. to. 
Purchased in4905. 



»> 



No. 2007. Stvdies for " Isaiah.^ 

Two studies for the head and neck of the prophet, and for the 
folds of his tanic, stained in the studio. 
Bed chalk and lead pencil, 1 ft. 1 in. A, by 10 in. «•. 
Pnichased in 1905. 

No. 2008. A study for the *^ Isaiah ^^ and for a 
Battle of Lapithce. 

A study for the head of the prophet from a beardless mode]. 

Aed chalk, 6^ in. h, by 5| in. to. Arched top. 

Two figures hurling stones, and one falling backward. 

Bed chalk, 6^ in. A. by 10 in. u?. 

Purchased in 1905. 

No. 2000. Studies for a child and a woman seated* 

A child holding a scroll above his head. 
Bed chalk, 4 in. A. by 6^ in. w. 
A woman in a skirt, seated on the ground. 
Bed chalk, 7 in. A. by 6| in. w. 
Purchased in 1905. 

No. 2010. A study for an Expulsion, 

A study of two figures walking hand in band, one lookiog down 
upon the ground and the other upwards over her shoulder, towards 
heaven. At the baae of tbe sheet is a Issger stady of tha two 
handi interlocked. 

Bed chalk, 1 ft. 2 in. A. by 9^ in. w. 
Purchased in 1905. 



254 STEVENS. 

No, 2011. Studies for a military uniform (1847). 

Three studies for military tunicd, caps, and belts. 
Pen and ink, 7 in. h, by 9 in. to, 
Pnrobased in 1905. 

No. 2012- studies of angels and a stairway. 

Four studies of angels holding scrolls, and a divided stairway 
with sections. 

Pen and ink, 10 in. h, by 1 ft. 1^ in. w. 

Studies for the angel appearing to the shepherds, and a side 
board. ^ 

6 in. A. by 1 ft. i in. to. 
Purchased in 1905. 

No. 2013* studies of a mun leaning on his elboWy 
and for stooping figures. 

A study for the back of a man leaning on his elbow, part of a 
composition of three figures for a decoration sketched on the right. 

Red chalk and lead pencil, 6^ in. h, by 8^ in. w. 
Five studies for stooping figures. 
Red chalk, 10} in. h, by 8} in. w, 
/ Purchased in 1905. 

No. 2014. Study of a woman kneeling, 

A study of a draped figure kneeling in a supplicating attitude. 
Red chalk, 10 in. A. by 9f in. to. 
Purchased in 1905. 

No. 2015> study of a seated woman. 

A study for a woman seated and looking down at her right hand 
as if reading a book. 
Red chalk, 1 ft. h, by 7 in. to. 
Purchased in 1905. 

No. 2016. Two studies of struggling figures. 

Studies for a group probably representing the "Rape of 
Deianira." 

Red chalk, 6 in. h, by 9} in . to., and 5} in A. by 9} in. to. 
Purchased in 1905. 



STEVENS. 255 

No. 2017. Studies of struggling figti/reSy and for a 
man hammering at an anvil. 

A stndy for the same subject as No. 2016. 

Red chalk, 6^ in. h, by 9 in. to. 

Three studies for a man hammering at an anvil, probably for a 
panel in the design for the proposed gates of the Geographical 
Museum. 

Bed chalk, 1 ft. ^ in. h. by 9^ in. to, 
Pnrchased in 1905. 

No. 2018. Three studies of figures and a woman 
striking a tambourine. 

A study for a man kneeling on one knee before another figure. 

Bed chalk, 9^ in. A. by 5 in. w. 

Two studies for a woman striking a tambourine. 

Lead pencil, 9^ in. h. by 6 in. w. 

Studies for two standing figures. 

Bed chalk, 8 in. h. by 1 ft. w. 

Purchased in 1905. 

No. 2019* studies of a child's expressions. 

A child lifting up his right arm and looking merry. 

Bed chalk, 10 in. K by 7 in. w. 

Five studies of the same child getting more and mora miserable. 

Red chalk, 10 in. h, by 7 in. w. 

Purchased in 1905. 

No. 2020. Studies for the figure of Valour on the 
Wellington Monument. 

Three studies in red chalk for the figure of Valour and fourteen 
small pencil sketches for the group of which she is a part, " Valour 
Overcoming Cowardice." 

Bed chalk and lead pencil, 1 ft. 2 in. A. by 10 in. w. 
Purchased in 1905. 

No. 2021. Stvdies of drapery. 

A study of drapery covering the knees of a figure and of a 
decorative framing. 

Bed chalk and lead pencil, 7 in. h. by 8 in. w. 

Two studies of drapery covering bent knees, seen in profile. 

Bed chalk, 6f in. A. by 9 in. to. 

Purchased in 1905. 



266 STEVENS. 

No. 202flL Studies of rwUning figum. 

A study of a woman reolining, with her face towards the 
spectator. 
Bed ohalk, 7i in. A. by 11^ in. w, 

A stndy of a woman reclining^ and leaning on her lefl aaiii, with 
her back towards the spectator. 

Bed chalk, 6^ in. h, by 11^ ii^* t^* 
Purchased in 1905. 

No. Z023- Stvdm of struggling figurea. 

Two studies for the same composition as Ho. 2016. 
Lead peneil and pen and ink, 54 in. A. by 10 in. to. 
Bed chalk, lead pencil, and pen and ink, 5^ in. A. by 10 is. «^ 
Pnrchased in 1905. 

No. 2024. study for a figure holding a tdbleL 

Probably an alternative desiga for an angel in the Isaiah 
cartoon. 
Bed chalk, 8 in. A. by 6^^ in. lo. 
Purchased in 1905. 

No. 2025- study for * Parmigiano painting.'' 

A stady of Parmigiano absorbed In painting, during the sack of 
Home, in 1527, the picture of the Vision of 8t. Jerome, No. 33, in 
the National Gallery. For a projected picture. 

Bed chalk and lead pencil, 10} in. A. by 9 in, to. 

Purchased in 1905. 

No. 202C» Study of a man protecting a woman. 

A study for a man, with his right arm thrown proteotingly over 
the back of a womiui kneeling at his feet. 

Bed chalk, 8^ in. A. by 6^ in. to. 

Purchased in 1905. 

No. 2027. study of drapery for a cartoon. 

Four studies for the drapery of a prophet in one of the ^urtoenB 
for the spandrels of the arches under the dome of St. Paul'^* 
Bed chalk stained with water colour, 1 ft. A. by 10 in, to. 
Purchased in 1905. 



STEVENS. 257 

No. 202i8« A portrait of a clergyman, 

A portrait, said to be of Mr. Samuel Best, the clergyman who 
sent SteveDs to stady in Italy, an early work. 
Pen and ink, 1 ft. h. by 9 in. w. 
Purchased in 1905. 

No. 2029. studies for the angel in the lunette of " The 
Angel announcing the birth of our Lord to the 
Shepherded 

A study for the angel in No. 1957. 

Lead pencil and red chalk, 11 in. A. by 8 1 in. vo, 

Fonr fltndies for the same angel. 

Bed chalk, 11 in. ^. by 8| in. w. 

Purchased in 1905. 

No. 2030. Studies for the lu7iette of " The Angel 
announcing the birth of our Lord to the Sh^herds^ 

Several studies for the same composicion. See No. 1957. 
Lead pencil, 10 in. h. by 1 ft. J in. m>. 
Purchased in 1905. 

No. 2031- A study for a flyi^ig figure. 

A study for the figure of a woman, with her right knee bent, 
flying towards the right. 

Red chalk, 7 in. h. by 1 ft. \ in. w. 
Purchased in 1905. 

No. 2032. Designs for a Sea Nymph and Temperance* 

A sea nymph reclining on a dolphin. 

Lead pencil, 4^ in. h, by 1 ft. w, 

A female figure holding a vase and pouring water from a bowl. 

Lead pencil, 10 in. h, by Si in. w. 

Purchased in 1905. 

No. 2033- Studies of Mermaids and Tritons Jor the 
pavement in St. George's Haliy Liverpool. 

A study for a marble pavement in the manner of the Masters of 
Siena, with several details of dolphins, mermaids, tritons, and other 
sea nmnsters. 

Lead pencil and pen and ink, 1 ft. 2 in. h. by 1 ft, 9 in. w. 

Purchased in 1905. 

(B.A.) K 



us STBYBNa 

No. 2034. Heads for wood carving^ a Vdse^ and a design 
for Tiles. 

Two views of a bead for wood carriDg lighted from below, and 
a design for a two-bandied vase. 

Lead pencil, 9^ in. h. by 1 ft. \ in. to. 

Two beads and tbree designs for encanstio tiles, including 
dolpbimiy comiicopias, and a vase. 

Lead peneil, 8 in. ik. by 9 in. to. 

Pnrcbased in 1905. 

No. £035. Pluto and Proserpine^ a design for a fire-back. 

Six sketcbes of Pinto carrying off Proserpine in a chariot down 
to Hades, designed for a cast-iron fireback. 

Lead pencil, 1 ft. 4 in. A. by 10^ in. lo. 

Porchaaed in 1905. 

No. £036- Britomarty four flying figures and a frame. 

A figure of Britomart taking down her armour from the wall 
and about to arm herself. 
Lead i>encil, 8 in. h. by 9^ in. to. 

Four figures of children flying, and a frame with an arched top. 
Lead pencil, 1 ft. } in. h. by 1 ft. 1^ in. to. 
Purchased in 1905. 

No. 2037. Two portions of the design for the decoration 
of the Dome of St. PauVs Gaihedral. 

Angels and other figures supporting tablets and circles for 
decorative picture?. 
Lead pencil, 1 ft. h. by 6^ in. w. 
Lead pencil and pen-and-ink, 8^ in. h. by 9^ in. vo. 
Purchased in 1905. 

No. 2038- Strada delta Fortuna^ Pompeii^ and a single 
Peony. 

A study of street in Pompeii, with touches of colour, showing 
the source of much of Stevens's inspiration in decoration, an early 
work. 

Lead pencil and water-colour, 8 in. h. by 1 ft. 2 is. w, 
A study of a purple single peony, an early work. 
Lead pencil and water-colour, 1 ft. i in. ^. by 9| in. w. 
Purchased in 1905. 



STIYENS* S59 



No. 2A30» A dniffn f&r the end of a room indticNnff a 
bust of Ra/phael and his fresco ^^ JurispntdenceJ'* 

A deogii for % partition with two doors. 

Lead penoil and pen-and-ink, 9^ in. A. by 11 in. ti?., arohed top. 

Pnroihaflediii 1905. 

No. 2040a A design for a two-handled Majolica Vase. 

A oolour design, with a ranning figure on a black medallion in 
^e centre. 

I«ad pencil and water-oolonr on tracing paper, 1 ft. 1 in. h, by 7 in. to. 
Purchased in 1906. 

No. £041* A design for a Fountain. 

A design for a fountain under an arefa with a Byrapfr pouring 
water from a vase on her shoulder, a doorway on either side. 
Pen-and-ink and lead pencil, 1 ft. 1^ in. h. by 10^ in. w. 
Purchased in 1905. 

No. 2042. A design fcfr the decoration of the ceiling and 
three wcUls of a room. 

This design was carried out in a house called Degnribiook, near 
Liverpool. 

Water-colour and pen, 1 ft. h. by 1 ft. 5 in. w. 

Purchased in 1905. 

No. 2043. A detail of No. 2042^ tvith a figure of 
Astronomy. 

The colour scheme for the room at Deyslvook, with a figure of 
Astronomy seated holding the celestial globe. 

Pen and water-colour, 1 ft. 2li in. k. by 1 ft. 6 ia. to, 

Puichased in 1905. 

No. 2044. A detail of No. 2042^ tvith a figure of 
Prudencey an angel tvith a trumpet^ and a ba^ xvUh 
a harp. 

Another part of the colour scheme for the same deooratioB. 
Pep and water-colour, 1 f t 8 uu A. hy I f t 9 in* w. 
Purchased in 1905. 

(BA.) B 2 



260 STEVENS. 

No. 204s5- AJdesign for the decoratio'niof a room with 
a frieze. 

A design for the decoration of a round room with a domed 
ceiling, divided into panels for painting. 

g Pen and water-oolonr, 1 ft. 2 in. A. by 1 ft. 2 in. to., arched top. 

Purchased in 1905. 

No. 204C- A design for the wall of a room with a frieze. 

A design for the decoration of a room with a dark red wall, and 
a frieze of children and festoons on a blue ground. 

Pen and water-colour, 8 in. K, by 5^ in. w. 
Purchased in 1905. 

No. 2047. A design in perspective for the decoration of 
a vaulted Corridor, 

A design of enthroned figures, medallions and festoons, in white 
on a dark blue ground. 

Pen and water-colour and lead pencil, 1 ft. \ in. h. by 1 ft. 6f in to. 

Purchased in 1905. 

No. 2048. Mutability : A queen begging at the door of 
a temple. 

A queen seated on the ground at the door of a temple with her 
young prince on her kuee holding up bowls for charity from th^ 
passers-by. 

Charcoal, 8 in. h. by 1 ft. 10 in. w. 
Purchased in^l905. 

No. 2049. A design for a Coving. 

A design containing a number of figures for the arched coving 
of the dining-room in Dorchester House. 

Lead pencil, 5f in. h. by 2 ft. 6 in. w. 
Purchased in 1905. 

No. 2050. Two figures holding festoons of drapery. 

Two decorative figures holding festoons of drapery attached at a 
euer B. 

Pen-and-ink and lead pencil on tracing paper, 8 J in, A. by 1 ft. in. t«. 
' Purchased in 1905. 



STEVENS. 261 



No. 20S1. A design for " 77ie Angel Announcing the 
Birth of our Lord to the Shepherds.** 

A stady for the same composition as No. 1957. 

Lead penoil, pen and sepia, 4^ in. h, bj 1 ft. 9 in. ic., in the form 
of a lonette. 

Pnrofaased in 1905. 

No. 2052. A design for the decoration of a Theatre. 

A design for the decoration of the proscenium and anditorinm 
of a theatre with a painted yelarinm. 

Pen, and water oolonr on tracing paper, 1 ft. 9 in. h, by 1 ft. 7 in. m. 
Purchased in ]905. 

No. 2121. Studies for * Isaiah.* 

' A sheet of studies in red chalk and pencil for the general 
arrangement and for the angel to the left in the mosaic of " Isaiah 
at St. Paurs," the full-size cartoon for which haogs in the G-allery, 
No. 1«46. 

10 in. A. by 12^ in. w. 

Presented by Mr. John B. Clayton, 1907. 

No. 2132. Portrait of John Morris-Moore. 

Head and shoulders, three-quarter face to left. Long chestnut 
hair, moustache and beard ; armour indicated. Reddish ground. 
The subject of the portrait was the well-known connoisseur, whose 
acquaintance Stevens made in his early days at Florence. Morris- 
Moore was born Feb. 11, 1811, in the fortress of Bitche in 
Lorraine, where his parents were detained, with other Einglish 
residents from Paris, until his mother obtained her liberty after 
an interview with Napoleon at Givet. The boy was educated in 
England, with a view to holy orders, but he chose the life of a 
sailor. In 1830 he left the navy, and fired by the example of 
Byron, joined the Greeks in the War of Independence, serving 
as first lieutenant in their fleet till the close of hostilities. He 
then went to Italy and threw himself into the study of painting. 
Dissatisfied with his own work, he became a critical student of 
the old masters, and a worshipper of Raphael. In 1849 his critical 
and his fighting qualities were displayed in an attack on the 
purchase and tiiatment of pictures at the National Gallery, under 
Sir Charles Eastlake. His letters to the <* Times," signed '"Yerax," 
led to a Parliamentary Inquiry, and the report of the Select 
Oommittee was followed by the ** Protest and Counter Statement " 



362 STEYENa 

(1855), drawn op by Morris-Moore. Among the ngnstories word 
Alfred Stevens, who had been a witness, and F. Y. Hnrhtone 
(painter of No. 1967). A further discussion arose over the " Morris- 
Moore Raphael," the " Apollo and Marsyas,'^ now in the Iionvre, 
which was refused by the Eufi^lish authorities, and purchased for 
the French Gallery about thirty years later. Morris-Moore 
returned to Italy in 1873, and interested himself in the purchase 
of Raphael's house at Urbino by the Academy of that city. In 
commemoration of his generosity, his bust was set up in the house, 
and right ot residence in it conferred on himself and his heirs.* 
Morris-Moore's acquaintance with Stevens, hegan in Florence, was 
renewed in Rome in 1840, wh^*e they shared a «t«dio. The 
portrait was painted in that year, when Stevens was 22. In the 
previous year he had spent some time in Venice, copying Titian 
and other masters of the Venetian School, and the influence of 
those studies is strongly marked in the portrait. Stevens, till his 
return to England, appears to ha-ve looked forward to painting as 
his chief work ; but he was unsuccessful in obtaining commissions, 
and this is one of less than a dozen portraits he is known to have 
painted. It appeared in public for the first time at the Old 
Masters Exhibition of 1901. 

On canvas, 1 ft. 11 in. h, by 1 ft. 6^ in. w. 

Presented, through the National Art-CollectioKM Fmd, by Mr. J. J. 
Buveen, jun. and other subscribers. It was purchased from Mr. John 
Morris-Moore, jun. 

Nob. X1C5-21TS- Eleven sheets of studies for the 
mosaics of ^^Isaiah^^ and other Prophets at Sit. 
PauVs, 

No. Ill 76- Study for Angels of the Passion at St. 
PauTs {alternative design to that qf the Prophets^ 

No. 2177> Study for figures in ^ Conversion of Saul " 
in a project for the decoraiion of the dome qf St, 
PauVs. 



No. 2178. Studies for a group in the " Brazen 
Serpeni ^^ for the dome of St. PaicTs. 

# ' ■■■11 ■ ■ ■ I ■ P i w ■■■».» 1^ ■■ ■ <i n ■ ■ i.— ^ ■■■> — ..^Mi — — ^ < I— ■^■■ii.^— M > ■■ ■■> ■■■■■■ laiin^i^i— ^ 

* For these particulan of Morris-Moore's career we are indebted to his son, 
Mr. 96bn. MxarUhMoare, jtni. 



STEVENS. 263 

No. £1T». Studies for " Tfis Fall " in the dome of St. 
PauVs. 

No. 2180. Study for " Cowardice " in the Wellington 
Monument^ St. PauVs. 

No. £181. Studies for supporting figures in the Dor* 
Chester House chimney-piece. 

No. ZiMMZm Studies for the chi^nney-piece and fot* a 
carved door at Dorchester House. 

No. 2183- Studies for a figure holding a shield on the 
chimney-piece^ for a carved door^ and for painting on 
the cove of a ceiling at Dorchester House. 

No8. 2184-2189- Six sheets of studies for the picture 
of ^'^ King Alfr&d and his Mother ^^^ No. 1923- 

No. 2190. Studies for the picture of^^ ParmigianoP 

No. 2191. Studies for figures of ** Z7na" and others 
from " The Fa^ery Queen " for the decoration of a 
drawing-room in the house of Don ChristobcU de 
Murietta in Palace Gardens. 



No. 2192> Studies for prize medals for the Science and 
Art D^artment^ South Kensington^ and for another 
Sfu^ject. 

No. 2193- A nude and a draped figure; subject at 
present not identified. 

No. 2194. Studies for (?) Deposition. 

Na 2198* Studies for (?) Deposition and (?) JSntomb" 
went. 



264 STEVENS. 

No. 2196- Studies for (?) Entombment^ and for a group 

on the cove of the dining-room ceiling at Dorchester 
House. 

No. 2197. A seated and a standing figure ; subject at 
present not identified. 

Tbe above 33 sheets of studies, Nos. 2165-2197, are chiefly in 
red chalk, bat a few in pencil. Many of tbe sheets have studies 
on tbe bick as well as the front. A selection only is at present 
exhibited. 

Purchased 1907, out of the Lewis Fund, from Mr. W. W. Bagshawe, 
whose father acquired them at the sale after Stevens's death. 

No. 2198. study " Maternity.^'' 

On one side of the sheet is a t-tudy in sanguine of a woman 
seated on the ground, node to the waist, with arms outstretched 
to hold a child, who is stepping on her knee. Tbe design, enclosed 
in a circle, is for one of the roundels intended to be carved in wood 
on the door panels of Dorchester House. Alongside is a second 
study for the legs of the child. 

On the back are studies in pencil for other roundels in the same 
scheme. 

From the Collection of Mr. Reuben Townroe, who bought it at 
the sale after Stevens's death. 

12^ in. h. by 13 in. u?. , 

Presented, along with Nos. 2113-4, by Mids Clare Atwood, on behalf 
of a body of subscribers, in memory of Miss Ethel Parker, 1907. 

No. 2212. Portrait of an Artist. 

A man with long brown ha'r, side whiskers, moustache and 
imperial, is seated facing the spectator on a rush-bottomed chair. 
He vears a black frock coat, grey waistcoat, frilled shirt, with 
black stock, and dark trousers. The right leg is thrown over the 
left, and Bupporis the elbow of the right aruo. The right band 
holds a palette and brushts ; the left hand rests upon the edge of 
tbe chair. Tbe background is the bare waM of a studio, with door 
to right and ligbted iron stove to left ; a se.ond chair is in front 
of tbe latter. It has been suggested that the portrait is of Stevens 
himself, because reflection m a mirror would account for the 
palette being apparently in right hand ; but the head does not 
re$>emble other portraiis of Stevens. The sitter was more probably 
01 e of the artibts at the French School in Borne. Tradition has 



STEVENS— STOKES. 265 

it that Horace Yernet, Director of the School (1828-1833), had 
encouraged " premier coap " paintiog, and thi^t Steyens made this 
sketch to show that he could work in that way. The glaze over 
the head was perhaps a sabsequent addition. Stevens was in 
Borne for a short time in 1835 (aged 17), and again from 1840 to 
1842. The portrait doabtless belongs to the latter period. 

5 On canvas, 1 ft. 11^ in. h, by 1 ft. 6} in. w. 
Purchased out of the Grant-in-Aid, 1908. 

No. 2213. A Portrait. 

Head and shoulders of a man with long dark hair, light 
moustache, side wbiskerp, and beard under the chin. The head is 
slightly inclined and turned to the left, in the manner of various 
Tenetian portraits ; the linen collar, wine-coloured dress and colour 
and handling generally are an echo of Tintoret. It has been 
suggested that this is a portrait of a Mr. Kinlocb, a wealthy 
American, whom Stevens met in Borne (1835) and accompanied 
to Florence, where he died shortly afterwards of malarial fever, 
tended by Stevens. He left his fortune to Stevens, who, finding 
that there were surviving relatives, waived all claim to it, " only 
retaining as keepsakes two old editions of Chaucer and Spencer, 
in which his name had been inscribed by the donor " (Article in 
Art Journal^ 1903, by J. Morris-Moore, jun.). It is doubtful, 
however, whether this portrait can be of so early a date. It is 
more probably of 1839-40. 

On canvas^ 1 ft. 3f in. A. by 1 ft. \\ in. w. 

Purchased out of the Grant-in-Aid, 1908. 



STOB.BS (Adrian). 
No. 1623- Upland and Sky. 

The principal part of the picture is occupied by a sky of large 
srey ram clouds, seen against a lighter mass ; on the brow of the 
hill are some cows. Signed, Adriui Stokes. 

On canvas, 4 ft. 9| in. h, by 6 ft. 9} in. 10. 
Bzhibited at the Boyal Academy in 1888. 
Ghantrey Purchase, 1888. 

No. 192i7. Autumn in the Mountains. 
A view of mountain tops from a rocky plateau. Snow -clad 



26« STONE— STRANG— STRUDWICK. 

petka^ witk pine woods on the» lower fllopes, are seen belbween 
tlie li^t stems of silTer birch trees. Signed, Adrmn Stokes. 

Painted in egg tempera on a plaster ground. 
On oanvas, 2 ft. 7 in. h, by 3 ft. 5 in. w. 
Chantrey Pnrohaee, 1903. 



STOIVB (Mabcus), a.A. 

No. 1883- Jl^-en-^i toujours un autre. 

In a neglected garden, above some dilapidated stone steps, where 
a white cat watches the autumn leaves, is a wooden seat upon 
which a young lady in a white dress and large blaclc hat is sitting ; 
a disconsolate suitor, in a maroon-coloured coat, leans over the 
back of the seat, ffigned and dated, Mabcus Stonk, 1882. 

On eaavM, 4 ft. 11} in. h. by 2 ft. 2| in. to. 
Sxiiibited at the Royai Aoadnny in 1882. 
Chantrey Pnielnse, 186S. 



(William), 
No. 2i079> Portrait of Mr. Henry NewhoU. 

A portrait-drawing of the author of " Admirals All,*' and other 
works. Seated, with folded arms, tbree-qnartere to the rigl^ seen 
to the knees. The drawing was executed in 1897, a study for the 
etching of 1898. Signed, <* W. Strang." 

Pencil on white Miohallet paper, 9 in. A. by 6} in. to. 

Exhibited at the Glasgow Intemati<Mial Exhibition, 1901. 

Presented, by Mr. James MacLehose, through the National Art« 
GoUeotiona Fund, 1906. 



ST&UDWXOK (John Mblhuish). 
No. 1625. A Golden Thread. 

** Bight tnie it is that these 
And all things else that nnder Heaven dwell 
Are changed ot Time." 

In the lower part of the picture the Three Fates are spinning 
the thread of life — around them on the ground Ue s^pindles, 



SWAN— TAYLEB. 367 

wmind wi^ l^eadB, p«rt gold, paii grey. In the naiddle porti«ii 
of the {tteture k a young ^rl listening to the moflic of Love's "pipb 
in hex lover's words. Above is Time tolling the bell in a tower, 
and Love's car is seen in the cloads through the branches of a tree 
which grows from the left of the picture. 

On canvas, 2 ft. 4^ in. h. by 1 ft. 4| in. to. 
Exhibited at the G-rosvenor Gallery in 1885. 
Chantrey Purchase, 1885. 



SWJbMT (John MacAllam), &.A. 
No. 1569> The Prodigal Son. 

"■ And when he had spent all, Uiere arose a mighty famine in the iand, aad he 
h&oji to "be in want. 

^And he went and joined himself to a certain citizen of that country and 
he sent him into his fields to feed swine. 

** And he would fain have filled his belly with the hnsks that the swine did 
eat : and no man gave nnto him. 

** And when he came to himself, he said, How many hired servants ol my 
father's have bread enongh and to spare, and I pmah with himgerr 

Saint Luke, xv.. U-17. 

The prodigal sits in the midst of a desolated ocrantry, las 
hands clasped over his head, his naked back towards us, surrounded 
by a herd of black swine. Signed and dated near the earthenware pot 
half buried in poppies, JOHN M. SWAN, 1888. 

On canvas, 3 ft. 8 in. A. by 5 ft. 2^ in. to. 
Exhibited at the Royal Academy in 1889. 
Chantrey Purchase, 1889. 



(J. Fbederick). 

B. 1802. D. 1889. 

Frederick Tayler, President of the Water Colour Society, now 
the Boyal Society of Painters in Water Colours, was born at 
Boreham Wood, near Elstree, Hertfordshire, in 1802. He was 
educated at Eton and Harrow. He studied art at Sass's 
Academy and in the Boyal Academy Schools. He also stadied 
under Horace Vemet in Paris, and in Borne. Tayler shared a studio 
with his friend Bonington in Paris for a time. He was elected 
an aseociate of the Boyal Society of Painters in Water Colours in 
18B1, member in 1884, and President from the year 1858 to the 



268 TAYLER— THOMAS. 

year 1871. He obtained gold medals at the Paris Exhibition in 
1855 ; Bavaria, 1859 ; Vienna, 1873 ; and received the Gross of the 
Legion of Honour and the Belgiam Order of Leopold. Taylor 
painted sporting and country sabjects, chiefly Scottish, and scenes 
from past times, and was a member of the Etching Olab. He 
died at Hampstead, June 20th, 1889. 

No. 1979. Dragoons on the March. 

Some troopers are dismounting at a thatched roadside inn, a maid 
is serving out liquor at the porch over which there is a signboard 
representing a bottle and glass and a punchbowl, with the inscrip- 
tion MEG DODS, SPIBErS AND POBTEB. On the knapsack 
attached to the aaddle of the grey horse in the centre of the 
composition, are the regimental letters and number D.Qc, YI., on 
the left an old man surrounded by children is playing the bag- 
pipes, and on the right a woman is drawing water from a well. 
In the distance the rest of the column is seen approaching, 
winding through a mountain pass. Signed, F. T. 

Water colour, 1 ft. 11 in. A. by 3 ft. to. 
Bequeathed by Mr. Oharles Fraser in 1905. 



TATXiO& (Leonard Campbell). 
No. £137. The Rehearsal. 

Two ladies and three men, engaged in playing a quintet, are 
grouped about a grand piano. They are dressed m early Victorian 
style, and seated in a blue-carpeted room with greyish walls 
splashed with evening sunlight. 

Canvas, 7 ft. h, by 10 ft. w. 

Exhibited at the Royal Academy, 1907. 

Ghantbkt Pubohasb, 1907. 



(John). 

B. 1813. D. 1862. 

John Thomas, of Welsh descent, was born at Ohalford, 
Gloucesteishire, in 1813. He was apprenticed to a mason, and 



THOMAS— TfiORNEYCROFT. 269 

ako worked under his brother, an arobiteot. A monnment of his, at 
Hnntingdon, attracted the attention of Sir Oharles Barry, wh« 
empk>7ed him on the scalpture of the Birmingham Grammar 
School, and brought him to London to undertake part of th« 
decorative work on the new Houses of Parliament, where he con- 
trolled the carvers and masons. From 1838 to 1862 he exhibited 
at the Academy, chiefly busts. He executed the allegorical bas- 
reliefs of London, Liverpool, Manchester, and other cities at 
Euston BaUway Station, and the colossal lions on the Britannia 
Tnbidar Bridge across the Menai Straits. Other works were his 
« Musidora,'' *' Godiva," *' Una and the Lion," and *' Queen Boadicea 
and her Daughter," of which there is a bronze casting in the 
Birmingham Gallery (to the catalogue of which we are indebted 
for these particulars). There is a figure by him called '* Bachel " 
in the South Kensington Museum. 

No. Z0€1. W. P. FHth, B.A. 

Marble bust 2 ft. 7 in. h. On the base is carved in relief a 
comic mask, a palette, mahl-stick and brushes, and wreath of ivy. 

Inscribed at the back: *'W, P. Frith, B.A. John Thomas, Sc, 
London, 1869." 

Exhibited at the Royal Academy in the same year. 

Presented by Mr. L. Loewenthal, 1906. 



THO&irVC&OFT (William Hamo), H.A. 
No. 1751. Teiicer. 

The typical Homeric bowman has bent his bow ; the arrow has 
flown. He follows its flight with attentive eye. Inscribed, 
HAMO THOBNYOBOFT, 1881; in the front of the base, 
TEUOEB. 

Bronze, 6 ft. 10 in. high without the bow, but including the circular 
plinth, which is 2 ft. in diameter and 5^ in. thick. 

Exhibited at the Royal Academy in 1881. 

Ghantrey Purchase, 1882. 



270 TUKBr-TURNBB. 

TV&S (Hbnry SdoTT), j|»lt.4k. 

Ko. X9l3- August Blue. 

In a hoat on a bluQ sea are four boys bathing ; one of them 
atands on the prow meditating a plunge, while another is being 
helped into the boat by a boy who holds the oars. In the distance 
are yartous three-masted vessels at anchor. Signed and dated, 
H. B. TUKB, 1894. 

Ob oanvae, 9 ft. 11^ in. h, bj 5 ft. 11| in. w, 

fidiibited at tiie Beyal Academy in 1894. 

Chantarey Pnrohase, 1894. 

No. IMS- AU Hands to the Pumps. 

In a gale of wind, which has just carried away one of the eaih^ 
some seamen are hard at work pumping out a water-logged vessel. 
The reversed ensign is a signal that the vessel is in danger, and a 
sailor standing in the shrouds points to the distance as showing 
that help is at hand. Signed and dated, H. S. Tuke, 1889. 

On canvas, 5 ft. 11} in. ^. by 4 ft. 5\iD.,u>, 
Exhibited at the Boyal Academy in 1889. 
Chantiey Porohase, 1889. 



TU&NSa (Joseph M. W.), R.A. 

B. 1775. D. 1851. 

Joseph Mallord William Turner was bom on the 23rd of April 
1775, in Maiden Lane, Covent Grarden, where his father carried on 
the business of a hairdresser ; he was christened at St. Paul's, 
Covent Garden, on May 14th of that year. The friendship of 
Girtin, the water-colour painter, and the privilege of copying 
a collection of drawings in the possession of Dr. Monro, of the 
Adelphi, aided the development of the young painter's talent at an 
early age. Turner entered as student of the Royal Academy in 
1789 and he exhibited a drawing of Lambeth Palace in the fol- 
lowing year ; in 1799 he was elected/ an associate, and in April 
1802 he became a member of the Academy. In this year he visited 
France and Switzerland. In 1807 he was elected Professor of Per- 
spective in the Royal Academy, succeeding Edwards, an associate 
of the Academy, who had for many years filled the office. In 1807 



TUBHBB. 871 

alflo he began to publish his ** Liber Studiorunif* or book of sketches 
in imitation of Chiude's ^^ Liber Veritatis" ; and for a few years 
dorinc this period of his life he painted in emulation of the style 
of Glavde. In 1812 he built a house in Queen Anae Street, West, 
No. 47, which he retained until his death, and where he for Qiany 
years exhibited some of his pictures. Turner visited Italy three 
times :-^n 1819, in 1829, and about 1840. 

After a life of almost unrivalled success, and an indostiy unsur- 
passed, this great landscape painter died unmarried in bis cottage 
at Chelsea, December 19th, 1851. He was buried by the side of 
Sir Joshua Beynolds, in the crypt of St. PauFs Cathedral on 
December SOth. His large fortune, both in pictures and in funded 
pn^erty, he bequeathed to his country ; — ^his finished pictures to 
the nation, on condition that the Government should provide 
suitable accommodation for them within ten years ; and his funded 
property towards the establishment of aa institnti<Hi f oilr the benefit 
of decayed artists.^ 

Turner's career comprehends, 'independently of hfo imitations 
of Claude, three distinct styles, in the first of which, previously 
to 1802, he was more remarkable as a water-colour painter : his 
early drawings are conspicuous for their careful completion, sub- 
dued colour, and effective light and shade ; his earliest oil pictures 
resemble those of Wilson in style. In middle life, from about 
1802 until about 1830, the date of his second visit to Rome, he 
was as distinguished for a masterly and vigorous execution and 
an unrivalled brilliancy of colouring ; the majority of his greatest 
works belong to this time, from his *' Calais Pier," 1803, to the 
'^Ulysses deriding Polyphemus," 1829. During the last twenty 
years of his life, light, with all its prismatic varieties, seems to 
have chiefly engrossed his attention, yet some few of his finest 
works belong to this period, as his " Childe Harold^s PUgrimage,' 
exhibited in 1832, and the '< Temeraire," exhibited in 1839. His 
later pictures are painted on a white ground. Specimens of all 

* The will was disputed, but in accordance with a comprongiifis between the 

BhrtiM in litiffation, it was decided by an order of the Court of Ohadcery, dated 
arch 19th, 1866, that all pictures, drawings, sketches, finished or unfinished, by 
the hand of Turner, should belong to the nation, and that all engravings should 
belong to the next of kin, and funded property, subject to a bequest of £80,000 
to the Boyal Academy, and £1,000 for his monument. The finished pictures 
thvm aoqiure^ fo^ the National Gallery amount to about one hundred in aumber. 
See The Turner Gallery ; a series of sixty engravings from the princwal worfu of 
J, M. W. Tiimer. WUh a memoir and iUttstratiw text by R. K. Womum, &c. 
Folio. Ijondon,J.aVirtue,186»-1862. 



m TfURNES. 

has styles are nttmetous, independent of book illttsttatlonel and 
other small water-colonr drawings, for Turner was a large con- 
tribntor to the annual exhibitions of the Royal Academy, having 
eshibited 257 drawings and pictures on its walls, from 1790 to 
1850, both inclasive. 

No. 507. Scene from Boccaccio^ known also as the Bird- 
Cttge^ and the Garden of Boccaccio. 

A shady glen with pleasant slopes, and many fiffures lounging 
about and in conversation. At the extremity of the glen is seen 
a white castle. A birdcage, a prominent object, which is lying on 
Uie grass in the foreground, seems to have reference to the title 
given to this picture by Turner in the Bo:yul Academy Oatalogue 
— *< Boccaccio Relating the Tale of the Birdcage," —but no such 
story appears in the Decameron by that writer. 

On canvas, 4 ft. h. by 3 ft. to. 

Exhibited at the Royal Academy in 1828. 

Turner Collection. 

Engraved by J. P. Qailley, and by 0. H. .Teens. 

•* No. 514. Watteau Painting, 

A study by Du Fresnoy's Rules. 

*^ White, when it shines with nnstain'd lustre clear, 
Hay bear an object back, or bring 'it near." 

Art of Painting, Enle xxxiv., 11. 446-«. 

Watteau stands in the centre of the composition drawing, in a 
large sketch-book, a lady and a gentleman reclining on a divan. 
Around are unfinished pictures, books, costumes, a palette and 
other studio properties including a Chinese porcelain jar with a 
blue cover, similar to some Turner drew at Petworth. There is 
a sketch in the National Gallery of Turner himself painting in a 
room at Petworth surrounded by some of the ladies of the house- 
hold, similar in composition to this picture. 

On wood, 1 ft. 3i in. h. by 2 ft. 3i in. w, 
Exhibitec^ at the Royal Academy in 1831. 
Turner CaJlection. 



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No. 515. Lord Percy under Attainder^ 1606. 

Lucy, Countess of Carlisle, and Dorothy Percy, visiting their 
father, Lord Percy, when under attainder upon suspicion of. being 
concerned in the Gunpowder Plot. On the walls are pictures of 



TURNER. 273 

the Tower of London and the Angel releaeing St. Peter from PrisoiL 
The lady in yellow is taken from a piotnre by Yandyck at 
Petworth. 

On wood, 1 ft 3i in. h, by 2 ft. 8) in. w. 

Exhibited at the Royal Academy in 1831. 

Tnmer Ck>lleotion. 

'^iNo. B17. Shadrach, Meshach^ and Abednego coming forth 
from the Burning Fiery Furnace. 

The red glow from the furnace lights up the fignre tha't 
Nebacadneazar the King had set np, and the fierce heat kills the 
soldiers. On the left are the musicians in a tower, and figorea in 
rich oriental costumes overpowered by the heat are in the fore- 
ground. Thombni^, in his life of Tomer, pace 324, tells us 
that this picture originated in a conversation with Qeorge Jones, 
B.A., Turner's friend, who afterwards became one of his 
executors. Jones informed Turner that he was going to paint this 
sobject in an upright kit*kat canvas for the Royal Academy of 
1832 and Turner agreed to do the same ; the painters were not to 
see each others work in progress. The members of the Academy 
were surprised to find, when they were exhibited, that the worki 
^ had been executed with the most perfect sympathy." 

On wood, 2 ft. 114 in. h. by 2 ft. 3^ in. w. 
Bxhibited at the Boyal Academy in 1832. 
Turner GoUeetion. 



No. 529> War. The Exile and the Rock Limpet. 

** All 1 thy tent-formed shell is like 

' A. soldier's nightly bivonac, alone 

'Amidst a sea of blood 

but you can join your oomrades.** 

FallaeUt ofEopt. 

A blood-fed sunset refieeted in a shallow tidal pool on the tfaors 
of Saint Helena. Napoleon stands, with his arms folded, looking 
out to sea. A British sentinel is seen in the distance. 

On canvas, circular, 2 ft 6| in. in diameter. 

Bxhibited at the Boyal Academy in 1812. 

Turner Collection. 

(B A.) 8 



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274 TURNER. 

No. 531- Shade and Darkness. 

The evening of the Deluge. 

"The moon pat forth her sign of woe anheeded. 
And the last token came ; the giant framework floated ; 
The scared birds forsook their nightly shelter, screaming, 
And the beasts waded to the ark." 

In the distance the ark is seen floating on the waters, all sorts 
of wild animals are seeking safety on the high lands. The sons of 
men are resting in false security nnder temporary shelters. The 
cattle and horse and the household dog chained to a fence are 
threatened by the rising waters. The sky is darkened by rain- 
clouds and flights of scared birds. 

• There is another version of this picture in the possession of 
n. Darcll-Brown, Esq. 

On canvas, an octagon, 2 ft. 6^ in. in diameter. 
Exhibited at the Royal Academy in 1843. 
Turner Collection. 

No. 532- Light and Colour {Goethe's theory). 

The morning after the Deluge ; Moses writing the Book of 

Genesis. 

** The ark stood firm on Ararat : the returning sun 
Exhaled earth's humid bubbles, and emulous of light, 
Beflected her lost forms, each in prismatic guise/' 

FallacieM ofHopi, 

The returning sun breaks through a prismatic mist full of spirit 
forms ; a serpent twisted on a rod rises from a group of blackened 
boiiies in the middle of the composition. The writer of the Book 
of Genesis is seen in the sky, pen in hand, and seated upon a cloud. 

On canvas, an octagon, 2 ft. 6^ in. in diameter. 

Exhibited at the Royal Academy in 1843. 

Turner Collection. 

No. 545. Whalers. 

Four boats' crews are attacking their prey with harpoons ; the 
whale is already spouting water stained with blood. Behind 
them are eeen the white sails of their vessel through mists and 
whirling snow donds. 

On canvas, 2 It. 11 in. A. by 3 ft. 11 in. w» 

Exhibited at the Royal Academy in 1845. 

Turner Collection. 






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TURNER, 275 

No. S49. Uridine giving the Ring to Masaniello, 

The fisherman dragging in his net, full of all manner of sea 
creatures, is given the ring by Undine, who appears in a halo of 
light and sarronnded by sea-maidens. 

On canvas, 2 ft. 6^ in. square. 

Exhibited »t the Royal Academy in 1846. 

Turner Collection. 

No. 550. The Angel standing in the Sun. 

An angel with huge wings brandishing a sword drives Death, 
the skeleton, before him. In the foreground is a chained serpent 
with a red maw, and gro^ips of figures representing Adam and 
Eve lamenting over the body of Abel, and Judith standing by the 
headless trunk of Holof ernes. 

On canvas, 2 ft. 6^ in. square. 
Exhibited at the Royal Academy in 1846. 
Turner CoUeotion. 

No. 552a JEneaa relating his story to Dido. 

" Fallaclons hope beneath the moon's pale crescent shone. 
Dido listened to Troy being lost and won." 

Fallaeles of Hope, 

Dido and ^neas are in a magnificent barge on the river and 
attended by other similar barges. In the background is a great 
city composed of recollections of the Castle of St. Angelo in 
Rome, the Doge's Palace and Bridge of Sighs in Venice, and other 
noble buildings. 

On canvas, 2 ft. 11 in. h, by 3 ft. 11 in. w. 

Exhibited at the Royal Academy in 1850. 

Turner Ck>llection. 

^ No. 553> Mercury sent to admonish j^neas. 

** Beneath the morning mist 
Mercury waited to tell him of his neglected fleet." 

FaUaeiea of Hope, 

** The Lord ot heaven and earth, almighty Jove 
Sends me with awfal warnings from above. 
What are your motives for this long delay ? 
Why thus in Lybia pass your life away ?" 

Ring's JBneid, b. ir. 



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276 TURNER. 

The messenger of Jove alights on eome great fragmento of 
architecture outside the magnificect city by the sea ; below is the 
harbour which reflects the sun, high up in the zenith. 

On canvas, 2 ft. 11 in. A. by 3 ft 11 in. wide. 
Exhibited at the Boyal Academy in 1850. 
Turner Collection. 

A No. 554. The Departure of the Trojan Fleet. 

*' He then commanded all the Trojan host 
To launch the fleet now scattered on the coast. 
The pitchy keel now glides along the flood. 

• • • • 

At once the seas with sails are covered o'er. 
And not a Trojan left upon the dhore " 

King's JEneidy h. iv. 

".The orient moon shone on the departing fleet, 
Nemesis invoked, the priest held the poisoned cup." 

Fallacies of Hope, 

The Trojan fleet glides through the mouth of the harbour of 
Carthage, flauked by towers. Queen Dido and her attendant 
maidens and warriors watch their departure. 

On canvas, 2 ft. 11 in. h. by 3 ft. 11 in. w. 

Exhibited at the Eoyal Academy in 1850. 

Turner Collection. 

^ No. 555. The Visit to the Tomb. 

** The sun went down in wrath at such deceit." 

FallaeiM cfHope, 

^neas lifts his right hand towards the caryatides cut in the 
rock Temple. Cupid accompanied by blue pigeons attends the 
Queen. The sun is setting in an angry sky, casting a red glow 
over all the monuments of the city. 

On canvas, 2 ft. 11^ in. h. by 8 ft. 11^ in. to. 
Exhibited at the Boyal Academy in 1850. 
Turner Collection. 

No. 561- Mountain Glen. (Unfinished.) 

The blue waters of a winding lake lead to snow clad mountains 
in the distance, a woody glade is seen through an arch of foliage 
on the right, and the story of Diana and Act»on is slightly sketched 
in the foreground. 

On canvas, 4 ft. 11 in. h. by 3 ft. 8 in. to. 
Turner Collection. 



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TURNER. 277 

No. SC2> Harvest Home. (An unfiniBhed sketch.) 

The rustic gnests are being recelTed in a large barn, where 
tables are spr^d for them. A black servant is offering wine to 
some of the company, and the last load, covered with rejoicing 
harvesters, is seen approaching through the open door. 

In a sketch-book in the National Ghillery there are several 
pen-and-ink drawings from nature of figures and groups for this 
picture, and also a sketch of a Dutch piotore, somewhat in the 
manner of Temers, described in Turner s handwriting as *^ Lord 
Bflsez's Harvest Home.'' 

On wood, 3 ft. A. by 4 ft. t^. 
Turner Oolleotion« 

No. 1SS7. Biver Scene with Cattle. 

Two sailing-barges are quietly gliding down a wide estuary to 
the sea. Children are wading and playing on the shore, and some 
cattle are seen against a cloudy sky on a sandy bank supported by 
timber. This picture was exhibited in Turner's studio in 1809. 

On canvas, 4 ft. 2 in. ^. by 5 ft. 7 in. to. 
Turner Collection. 

No. 18^7. Caernarvon Castle. 

The dark castle is seen silhoutted sigainst a cloudy sunset sky, 
reflected in the river, on which a few sbips are at anchor. A very 
early work probably dating from before the year 1800. 

On wood, 5^ in. A. by 8f in. w. 

Turner Ccdlection. 



No. 19S0. Storm off a Rocky Coast. 

Broken fragments of wrecks are being tossed about by the winds 
and waves and huge masses of clouds torn by the wind are racing 
over the ansry skv. This picture and No. 1987, " Breakers on a 
flat Beach, are founded upon two smaller pictures called "The 
Storm" and "The Day after the Storm," said to have been 
suggested by the great gale which raged on the 21st November, 
1840, the day on which the Empress Frederick was born. These 
two smaller pictures were exhibited at the Guildhall Exhibition in 
1899. They belonged to Mrs. Pounds and then to her daughter, 
who sold t$em tQ Il(r. Stephen G^ Ho}land, their present owner, 



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278 TURNER. 

4 

who lent them for the exhibition. There is an illustration of. 
" The Storm" in Sir Walter Armstrong's book on Turner, p. 21 3.* 

On oanyas, 2 ft. 11 in. h. by 3 ft. 11 in. w. 

Turner Collection. 

No. 1981. Norham Castle^ Sunrise. 

The sun is rising behind the castle, blue in the mists of the 
dawn. The opalescent colour of the sky is reflected in the shallow 
river, where a red cow stands drinking. This picture should be 
compared with Turner's sepia drawing of the same subject, 
No. 480 in the National Gallery, which was engraved in mezzo- 
tint by T. Lupton for the " Liber Studiorum," No. 67 (Rawlinson). 
Turner's earliest picture of Norham Castle, a water-colour, was 
exhibited at the Boyal Academy in 1798. Three other versions of 
the subject also in water-colours were painted between 1820 and 
1833, but this picture probably dates from some years later. 

On canvas, 2 ft. 11^ in. h. by 3 ft. 11^ in. w. 
Turner Collection. 

No. 1984. Margate from the Sea. 

A distant view of the town from the sea, which is darkened with 
blue cloud shadows. The light is breaking through massive clouds 
revealing the clear blue beyond. There is a brown sail on the 
right. There is a picture " Off Margate " in oil in the collection 
of Mr. H. S. Bickneli, *< The Fish Market on the Sands, Sun 
rising through Yapour," exhibited at the Royal Academy in 1830, 
was also said to have been painted at Margate. The subject was 
also often treated in water-colour. The best known is the " Margate 
from the Sea : Whiting Fishing," painted in 1822, at one time in 
the Windus Collection, a large mezzotint of which by T. Lupton 
was published in 1825. Another "Margate" was engraved by 
G. Cooke in 1824, f6r the " Southern Coast " series. Another was 
engraved in mezzotint by T. Lupton, for Buskin's " Harbours of 
England," 1856 ; the original drawing is now in the Oxford 
University Gallery, Buskin Donation. Yet another view of Mar- 
^te was engraved by B. Wallis in 1832, for the England and 
Wales Series. It is also stated that a number of water-colour 
sketches, made about 1840, of the sea and coast near Margate were 
in the Buskin sale in 1869. This picture probably belongs to 
about the same period, 1840. 

On canvas, 2 ft. 11^ in. h, by 3 ft. 11^ in. w. 

Tomer Collection. 

* From information supplied, with many other details incorporated in this 

Catalogne, by Mr. A. J. Finberg. 



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TURNER. 279 



No. 198Ba Sunrisey Bay of Bake ? 

The Ban has risen behind & mist-shroaded castle, a group of 
leafy fcrees casts a shadow over a lane leading away to the distance, 
two bare tree-tmnks complete the composition to the right. 
This pictnre is similar in composition to a sepia drawing called 
^'Solitnde," No. 462 of the Turner drawings in the National 
Gallery, a stndy for the " Liber Studiorum." 

On canyas, 2 ft. 11^ in. h. by 8 ft. 11} in. to, 

lamer Collection. 

J No. 1986. Hastings. 

Two fishing boats are drawn up on the sloping shore in front of 
a row of honse?, their sails hanging in the sun, the dark amber 
colour of the nearer contrasting with the ro<)y hue of the one 
further off. The distant cliffs are bathed in rosy light, and stand 
out against the pale blue of tue sky. The receding lines of the 
blue waves breaking on the sands complete tb? composition to 
the right. A picture called " Hastings : Deep Sea Fishing,*' was 
painted in 1818. and engraved in the *' Turner Gallery." A water 
colour of " Hastings,'' showing the fishmarket on the beach, was 
painted in 1824, and exhibited in Cook's Gallery in that year ; this 
drawing is now in the collection of Mr. G. W. Vanderbilt, of New 
York. Other pictures of Hastings are in the collection of Sir A. 
Acland Hood and at Farnley Hall. 

On canvas, 2 ft. 11^ in. A. by S ft. 11^ in. tr. 
Tamer Collection. 

' No. 1987. Breakers on a Flat Beach. 

A gap in the clouds reveals the blue sky, but the wind still 
sweeps the ragged masses of clouds through the air, and the angry 
white surf breaks fiercely on the reef of rocks protecting the sandy 
beach. This picture is similar to a smaller work called *^ The Dsj 
After the Storm." See No. 1930. 

On canvas, 2 ft. lli^ in. h. by 3 ft. 11^ in. w. 
Tamer Collection. 



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No. 1988. Interior at Petworth, 

In the centre of a square room, decorated with mirrors and 
groups of sculpture, seen through a mist of sunlight, is a large divan 
covered with a crimson drapery, on which the Royal Arms may be 



280 TURNER. 

diatingnished. A table has been apset and the f arnitnre dis- 
arranged by some pet dogft— pugs and spaniela-^whieh avi oa^nllg 
about oyer a lady's orange cloak and feathered bonnet. Brilliant 
aanrays shine down into the octagonal scnlptare gallery beyond, 
and are reflected through the Tenetian blinds of a window in aH 
alcove to the right. 

There are a number of sketches in the Tomer Water Oolour 
OoUeotion at the National Gallery in brilliant tints of opaque 
oolour on grey paper of the rooms at Petworth, with effects of 
sunlight similar to this picture, such as Nos. 576 and 741. They 
were painted about 1829-30. 

On cauYas, 2 ft. ll| in. h, by 3 ft. 11^ in. to. 
Tnmer Collection. 

No. 1989> Rocky Bay tvith Classic Figures. 

The deep green sea is lit up near the shore by a gleam of golden 
sunlight glancing through a natural arch in a precipitous headland 
jotting out seaward. In the distance on the other side of the bay 
hi a twin-peaked mountain shronded in clouds. G-reek galleys are 
moored in the bay and drawn up on the shore, a man with ont- 
ttretehed arms harangues a group of sailors seated on the beach. 
Possibly it is an episode in the story of XJl;fssee. This coiiijposi- 
tion is similar to the Glaucas and Soylla sepia drawing No. 8829 
Tanghan Bequest, for the Liber Studiornm. 

On canvas, 2 ft. 11 1 in. h, by 4 ft. \ in. w. 

Tamer Collection. 

No. 1990a Sunrise^ with a Sea Monster, 

A sea monster, with a head like a magnified red garnet, floats on 
the misty waters reflecting a yellow sunrise, in the distance are 
forms suggesting huge icebergs. This work may be of the same 
date as ** Whalers," No. 646. In a sketch book of Tamer's at the 
National Gallery, there are a number of drawings in red and white 
ohalk on grey paper of whaling episodes and of irarious sea 
monsters, as though Turner was occupied at the time with the 
Wonders of the deep waters related by Arctic voyagers. A similar 
drawing hangs amongst the exhibited water colours, No. 744, 
Tunny Fishing, Mediterranean. 

On canvas, 2 ft. 11^ in. h, by 3 ft. 11^ in. w. 

Turner Collection. 

^ No. 1991. The Evening Star. 

The sun has set over the dark sea ; in the pale after-glow gleam 
the evening star, reflected by a long glint of light in the ripple 



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TURNER. 281 

near tbe lonely beaoh, where a fisher lad tnrns homeward, ooonting 
his oatch, a white dof( bonnding at his f«et. 

On canvas, 2 ft. 11} in. A. by 8 ft. 11} in. w. 
Tomer Collection. 

No. 109& The Thames from ctbove Waterloo Bridge. 

The dim forms of Waterloo Bridge and the dome of St. Faafs 
can be indistinctly seen through the grey mists down a lane of 
shipping. The clouds are darkened l^ a oolnmn of Uaok smoke 
rising aboye the river craft. 

On canvas, 2 ft. 11} in. A. by 8 ft. 11| in. w. 
Tnmer Golleotton. 

^Ko. 1993. T(zcht Boeing in tJie Solent No. 1. 

A group of yachts, their white sails flecked with sunlight, are 
sailing through the broken water at the foot of the yellow difE of 
Kast Oowes ; on the right is the estuaary of the Medina river, 
forming Oowes harbour. 

This work, and the following five pictures, were painted by 
Turner when he was staying at East Oowes Oastle with J. Nash, 
the architect of the Quadrant, Regent Street, in the Autamn of 
1827.« 

On canvas, 1 ft. 6} in. h, by 2 ft. 4| in. to. 
Turner Collection. 

* ThftM nine pieturei were painted on two pieces of oanvas measuring 8 ft. by 
4 ft. Nos. 1993, 1905, 1996, 3000; 2001 on one piece, and Nos. 1904. 199771998, 1999 
on the other. Mr. Flnberg has commnaicated a copy of the followinff fetter 
which prolMhbly refers to these two canvases ; it is in the possession of 0. Maltord 
Turner, Esq^ who has kindly consented to allow it to be published. 

"Sunday. 
" I wrote yesterday to Mr. Newman to set a canvass ready>-6 feet by 4 feet I 
wish von to call and ask if he has it by him, and if he eets it done by Middleton, 
in St. Martin's Lane, or at home. If by Middleton, then let two be sent ; if he does 
it at home, then he will be some time about it. and then tell him if he has by 
him a whole len^ canvass to send it instead of preparing the 6 feet 4 canvass. 
If he has not then go to Middleton. and if he has one, a whole length oanvaes, 
let him send it me immediately. I want the canvass only I doort want the 
8tret(diing frame made in town if Middleton or Newman has the canvass ready 
done and if a whole length let either send it down to me 

at J. Nash, Esqre. 

East Cowes Castle 
Isle of Wight 
If they are both ready send them together rolled up on a small roller and put 
the linen things I wrote for on the outside. 

I want some Scarlet Lake and Dark Lake and Burnt XTmber in powder from 
Kewman's, one ounce each. 

J. M. W. T. 
1 ounce of mastic. 
To Mr. Turner 

Queen Ann Street 

Of^vendish Square 



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282 TURNER. 

No. 1994. Tacht Boeing in the Solent. No. 2. 

The yachts are sailing in a broken sea near the gnard-ship 
moored under the diff npon which East Gowes Castle stands. The 
sails of the first boat, which has a yeUow hall, are lit np by the 
snn and stand out light against the sky ; most of the other boats 
are on the opposite tack. 

For farther details 8ee No. 1998. 
On canTas, 1 ft. 6 in. A. by 2 ft. to. 
Tomer Collection. 

No. 199S. Tacht Boeing in the Solent. No. 3. 

A similar composition to No. 1994, but the sails of the fore- 
most boat are dark against a light sky and the hall is black. The 
following boats have come abont and are now on the same tack as 
the first ; there is a bright gleam of light npon the sea which is not 
00 roagh, as in No. 1994. 

For farther details «m No. 1993. 

On canvas, ^1^ in. h, by 1 ft. 7^ in. u?. 

Tomer Collection. 

No. 1996- Between Decks. 

An impression of a gronp of sailors and marines with their 
sweethearts and wives seated at a porthole of the mess deck of a 
man-of-war. A fore-shortened gan, a brass thirty-two ponnder, 
fills the centre of the composition. 

On canvas, 1 ft. 1 in. h, by 1 ft. 7 in. to. 
For farther details see No. 1993. 
Tomer Collection. 

^ No. 1997. A Begatta at Cowes. 

The harbonr is fall of shipping on the move, and a gay thronff 
of pleasnre-seekers crowd the qaay, especially near the Royal 
Tadit Squadron Olab house, where the flag is flying nnder a group 
of tall trees on the right. The af ternoou sun lights up the scene 
from the right and casts a ray of light across a bouse with a square 
front in the middle distance. The regatta is held during the first 
week in August. This picture is similar to No. 210 in the Sheep- 
shank's Collection at the Yictoria and Albert Museum, "East 
Cowes Castle, Isle of Wight.—The Regatta, with the Royal Yacht 
Squadron parting from its moorings." Exhibited at the Royal 



TURNER. 283 

Academy in 1828 with a companion picture called ^< East Gowes 
Castle, tne seat of J. Nash, Esq. — the Regatta bearing to wind- 
ward." These pictures were both painted for Mr. Nash, but the 
last work has not been traced. 

For farther details see No. 1993. 
On canyas, 1 ft. 6 in. h, by 2 ft. to. 
Tnxnei Oolleotion. 

^No. 1998. Shipping at Cowes. No. 1. 

The morning of the regatta. The harbour is bathed in early 
morning light and the sun which is in the centre of the sky has risen 
from behind the house with the square front, which is dark in the 
shadow. The boats are at their moorings and no one is about save 
a few sailors preparing for the day's work. This picture is taken 
tcom. almost the same spot as No. 1997^ and exhibits the same 
features but'seen at' an early hour of the day. 

For further details, see Nos. 1997 and 1993. 

On canvas, 1 ft. 6^ in. A. by 2 ft. ) in. to. 

Turner Collection. 

^ No. 1999. Shipping off a Headland. 

Shipping moored under East Cowes headland rosy in the morning 
light, some fishermen in a boat to the right are preparing their 
tackle. 

For further details, see No. 1993. 

On canvas, 1 ft. 6 in. A. by 2 ft. to. 



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No. 2000. Shipping at Cowes. No. 2. 

A croup of boats in Cowes Harbour at the hour of sunrise, their 
crowded masts relieved against the morDing sl^. The sun is rising 
behind a group of high trees on the right, under which the mimic 
fortifications of West Cowes Castle, the Royid Tacht Squadron 
clubhouse, may be distinguished. 

For further details, see No. 1993. 
On canvas, 1 ft. 6^ in. h, by 2 ft. 5 in. w. 
Tomer Collection. 

No. 2001. Sttidy of Sea and Sky. 

A study of sea and sky on a breezy day off the Isle of Wight, 
with the Hampshire coast in the distance. 

See No. 1993. 

On canvas, 1 ft. ^ in. h. by 1 ft. 7^ in. to. 

Turner Collection. 



384 TURNER. 

No« £A48b SunriM^ with a Boat between Headlands. 

The snn is breaking through the morning mist over a still water 
between precipitous headlands blue in the haze. A foreshortened 
boat on the left has a splash of orange-red on her hull. A water- 
colour in the collection of Sir James Knowles, similar in composition 
to this picture, is said to be a view on the Lake of Lucerne. 

On canvas, 2 ft. 11^ in. A. by 3 ft. 11^ in. vf. 

Turner CoUeotion. 

No« 20C4L The Old Chain PteTy Brighton. 

The sea-front of Brighton appears to the right, and the pi^ 
extends more than half way across the canvas ; a buoy is indicated 
in the foreground. To the left are grouped a tug, fishing-boats, 
and a rowing-boat with three men on board. The sun is low in a 
yellow haze. Study for the finished picture in the collection of 
Lord Leconfield, painted for Lord Egremont in 1830 ; engraved by 
R. Wallis in the *' Turner Gallery." 

Canvas, 2 ft. 8^ in. h. by 4 ft. 5} in. w. 

Turner Collection. 

No. 2065* A Ship aground. 

This picture, of the same dimensions, appears to be a pendant to 
the above. A pier, at a greater distance, stretches out from the 
beach on the left, on which are a few small figures. Nearer, on 
the right, and delicately drawn in monochrome, is a three-masted 
ship aground, surrounded by smaller craft. In the distance, to 
left of her, rides another three-masted vessel. The sea moves in a 
ground swell, and the sun sets red, in a bank of cloud, in the 
middle of the horizon. 

Canvas, same measurement as No. 2064« 

Turner Collection. 

No. 2066. The Arch of Oonstantine^ Rome. 

The arch appears to the right. A tree and buildings pile up to 
the left, and in the middle foreground is a paved way, with some 
figures roughly indicated. A yellow sunset blazes behind the 
tree. This and No. 2067 belong to 1840 and onwards, arising out 
of Turner's last visit to Rome in 1839. 

Mr. Alfred Thornton, who has worked out very minutely the 
fict^al topography of the scene of this and the next picture, has 



TURNER. 285 

been good enough to furnish the following notes, which prove that 
Tnmer, in this case, adhered very closely to the facts : — v 

" The spot from which Tnmer oaade his composition is on the 
slope of the Oaelian Hill, near the Orto Botanioo. The maes 
behind the arch consists, on the right, of the Temple of Yeniw 
and Rome, on to which is bnilt what was formerly the Monastery 
of Santa Francesca Romana. About midway from the right of 
the flrch, coming out above this collection of buildings, appears 
the Campanile of the Church of Santa Francesca. This Turner 
may have intended to draw in later, as it contains details rather 
thaji shows out as a mass. Before the arch are blocks of masonry, 
no longer there, which may have existed in 1839. The path or 
roadway might nave been taken from one existing just below the 
spot Turner worked at, which to-day leads from the Via Claudto 
towards the Arch of Titus. It is not paved, but made of small 
stones. Another path is suggested nearer the Arch of Gonstantine, 
and one exists there to-day. The only building about whieh there 
is any doubt is the square block to which the first of the patbs 
points. After searching various maps before and after 18^9, I 
consider this represents one of a group of houses on the Coliseum 
side of the Arch of Titus no longer existing. The wall on the 
left of the composition exists to-day and is covered with masses of 
ivy and crowned with trees. Moreover it has traces of vaulting 
on it, and a flat piece of turf at its base which might have had 
stones used as seats on it, as the picture suggests. This wall is 
built into the Palatine. But here comes in ^Turnerian Topo- 
graphy.' This corner ia actually farther away than the arch, but 
was legitimately brought in, because at that place one inevitably 
feels the presence of the Palatine. The square part under the 
trees may be the silhouette of a kind of outhouse marked on some 
of the maps." 

Canvas, 2 ft. Hi in, h. by S ft. Hi. in. w. 

Turner Collection. 

No. 2067. Tivoli. 

Of the same size and colouring, and apparently a pendant to 
the above. A cascade and stream occupies the middle of the 
composition, with a town on the ridge of a hill beyond, and more 
distant heights, against a yellow sunset, the whole suggested by 
the scenery of TivoU. To the right in the foreground are two 
groups of trees, and on the left the river bank climbs up. In the 
foreground to the left are two figures, apparently Tobit and the 
Angel > 

Mr. Alfred Thornton's notes on this picture, summarized in the 
absence of plans, are as follows : — 

"This painting is a good example of Turnerian topography as 
expounded by Ruskin in Modem Painters, vol. IV., pt. V., 



286 TURNER. 

chapter II.; for the artist seems to have recorded a series of 
impressions he might have gathered during an evening walk at 
Tivoli. Scarcely any two parts of the picture are side by side in 
nature, yet all can be ideutified with more or less certainty. 
Proceeding from the foreground towards the distance, it seems 
that Turner took the idea of the steep roadway from the paths 
in the garden of the Yilla Gregoriaoa, just outside the town. 
These paths are provided here and there with rough steps of 
boards and wind amidst stately trees climbing up and down the 
ravine side. From there, in the cleft called the Grotto of 
Neptune, can be seen a fall more like that in the picture than 
most others in the neighbourhood, unless it be the one in Tivoli 
itself, though the relations of the fall and the cascade suggested 
behind it with the town, are entirely fanciful. The town, as 
rendered by Turner, consists of two main masses but slightly 
detached from each other by aerial perspective. Here he has 
taken two liberties with che facts. The mountains behind the 
town do not appear in nature, and the town is not close up to the 
mass of buildings, with a steep declivity to the river from its base, 
as in the picture. With regard to the first point, Turner combined 
for purposes of composition, views taken from at least three 
points, and a further liberty is that the outline of the town and 
distance behind takes a form only possible from a position at least 
as high as the town itself. The suggestion of arches in one of the 
masses may be a recollection of the ruins of the so-called Yilla of 
Maecenas, which existed in 1824. The Campanile of the Duomo 
is omitted, possibly for reasons of design ; but one is apt to forget 
it in recalling the place. Taking the remainder of the picture as 
it stands, the high bank to the left would represent a part of 
Monte Catillo ; next lehind the town come the slopes of Monte 
Spaccato ; and to the right of the central tier the elevations, 
more or less fanciful, could only be the lower portions of Monte 
Sterpuro, although, in nature, the level Campagna fills this space." 

Canvas, same dimensions as No. 2066- 
Turner Collection. 

No. 2068. The Burning of the Ships. 

The title is conjectural. Some historical scene of naval warfare 
may be the motive, or a vague recollection of the incident in the 
Iliad, which was the subject of a picture by Claude. Clouds of 
smoke rise from a ship in the middle distance to the left, and from 
a line of more distant ships to the right. An arch and other 
buildings can be vaguely made out to the left, and in the fore- 
ground to the left are galleys crowded with men. There are 
others to the right with rowers and flags. 

Canvas, same dimensions as Nos. 2066 and 2067- 
Turner Collection. 



UNKNOWN— VACHER. 287 

UNKNOWN I Late 18th Century (?). 

No. 1254- View of Hyde Park Comer (looking East- 
ward). 

Previoas to the alteratious commenced in 1825 from the designs 
of Mr. Decimas Burton, architect. On the left is seen the old 
brick front of Apsley House before it was faced with stone and 
enriched with columns, 1825-27. 

On the right is a building the site of which is now occupied 
by St. George's Hospital. In the centre are two toll gates and a 
group of lamp-post^. In the distance (towards Piccadilly) houses 
and trees. 

On canvas, 1 ft. S^in. h, by 2 ft. 11 in. to. 

Presented by Miss Emily J. Wood, niece of Mr. Deoimns Barton, 

1888. 



(Ghables). 

5. 1818. D. 1883. 

Charles Yacher was born in Westminster in 1818. He went 
to Italy in 1839, studied in Rome, and afterwards trayelled in 
Bicily. In 1846 he was elected a member of the New Water- 
colour Society, now the Boyal Institute of Painters in Water- 
colours. To the exhibitionja of this society he was a regular 
contributor. His subjects were mostly from Italy, Algeria, and 
Egypt. He died in London on the 21st July, 1883. 

No. 1911. Rezzonico and the SpliXgen Bangsy Lake 
CamOf 1867. 

The little town of Bezzonico, with its old castle towering 
above it, is shown in bright sunshine on the left sbore of the 
lake. Fishermen at work in their boats fill the nearer part of 
the picture. Dervio is seen on the opposite shore, and in the 
distance the Spliigen Alps with white masses of vapour rising 
to a blue sky. Initialed and dated 1867. 

Water-colour, 2 ft. 7^ in. A. by 4 ft. 7 in. to. 
Bequeathed by Mr: George Yacher, 1902. 



288 ^ VARLEY— VERNET. 



(John). 
B. 1778. D. 1842. 

Jobs Yarley was bom at Hackney, in 1778 ; bis father did not 
approve of bi£ taking up painting as a profession, so he was 
apprenticed to a silTersmitb. On his father's death Yartoy 
obtained employment with a portrait painter ; soon afterwards he 
accompanied an architectural draughtsman on a tour to Tarioas 
parts of Engknd ; he was employed in drawing the principal 
buildings. Yarley, like Turner and Girtin, was one of the circle 
of young painters who used to meet at Dr. Monro's ; he was 
a foundation member of the old Water Colour Society in 1804. 
Though he worked very hard, and had a good teaching coniieeti<»i, 
his later years were disturbed by pecuniary embarrassments ; he 
died in 1842. Thirtynsiz of his works are in the Yiotoria and 
Albert Museum, South Kensington. 

No. 1737. Sketch for a Sea-piece. 

A stormy day off the coast, with a brig 5n a lee shore. 
Water colour, 4^ in. h. by 7^ in. w. 
Presented by Miss Gordon. 

No. 1738> Sea-piece J with Fishing Boats in a Gahn. 

The fishing boats are on the left ; on the riffht is a distant coast 
line, with islands ; above broods a large cumulus cloud. 

Water colour on rough yellow paper, 9} in. h, by 1 ft. 1| in. lo. 

Presented by Hiss Gordon. 



(EmILB JbAN fiOBAOS). 

B. 1789. D. 1863. 



Horace Yemet, the son of Carle Yemet, was bom in Paris on 
the 30th of June 1789. He showed at an early age the artistic 
ability which he inherited from his father, combined with a strong 
taste for military life. His destiny enabled him for a while to 
fulfil both the natural promise and the personal ambition of hja 
youth. He studied painting under the elder Yemet and Francois 



VERNBT. 289 



Yinoeiit ; married, while a youth of nineteen, Kile. 
Pajol, and sh<ntly afterwards obtained through his father's 
interest the appointment of military draughtsman at the seat 
of war. 

During the turbulent incidents of 1814 young Yemet helped 
to defend the Barri^re de Olichy, and for his gallantry on that 
oocaaion received, it is said from the emperor's own hand, the 
Gross of the Legion of Honour. But his leal as a Bonapartist, 
which commended him to Napoleon I., stood much in his 
way after the fall of the empire. The pictures and prints by 
whieh he endeavoured to perpetuate the fame of his favourite 
hero, though for a while popular with the masses, were regarded 
with disfavour and suspicion by the Bourbon party. In 1820 
Horace Yemet feU under Boyal displeasure, and deemed it 
prudent to quit Paris. He travelled with his father to Rome, 
and while there painted a picture afterwards well-known, 
representing the carnival horse race. Retaming to Paris in 
1822, Horace Yernet selected a more ambitious subject for 
his brush, viz. '* The Barri^re de Glichy, or the Defence of 
Paris in 1814." In this important work (now hung in the 
Louvre) the artist has introduced portraits of his father and 
himself, who, as we have seeu, played an active part on the 
stirring occasion. The picture, with some others by the 
same hand, was sent to the Salon, but they were rejected, 
probably on political > grounds, by the authorities, and Yernet 
evened an exhibition on his own account with considerable 
auocess. 

In due course he won his way to Court favour. Charles X. 
engaged his services as a portrait painter. Other royal com- 
misslonB followed, and in 1826 ho was elected a member of the 
Institute. Returning to Rome in 1828, Horace Yernet became 
Director of the French Academy there, and remained at the 
YDIa Medicis until 1833, when he resumed the occupation of 
his early youth by joining the French army at Algiers. His 
personal experiences on this and other occasions supplied 
him with details for his huge battle pieces, which flattered 
national vanity, and were in great favour with his liberal patron, 
Louis PhiUppe. In 1842 Yemet visited Russia, where he was 
received with distinction in high quarters, and painted a portrait 
of the Bmprees. With the Revolution of 1848 the tide of his 

(B.A.) T 



290 VERNBT— WADE* 

BaooesB began to torn, but it flowed back with fresh yigoor after 
the re-eBtablishment of the empire. In the Crimean war he found 
a new and thoroughly congenial field of labour. At the Paris 
Exhibition in 1855 his pictures filled an entire gallery, and his 
^* Battle of the Alma " was received with enthusiasm. He painted 
a portrait of Napoleon III., who created him a grand officer of the 
Legion of Honour only a few weeks before Yernet's death, which 
occurred in Paris on the 17th of January 1863. 

No. 128Sa Portrait of Napoleon L 

Bust length ; life size ; three-quarter face turned to the right. 
The Emperor, who is bare-headed, wears a military uniform of 
dark blue with red facings. His breast is decorated with numerous 
orders. Grey background. 

On oauYas ; OTal, 2 ft. 8 in. h, by 1 ft 10 in. w. 

Presented by the Duke of Leinster in 1889. 



WADS (Thomas). 

B. 1828. D. 1891. 

Thomas Wade was bom on March 10th, 1828, in the Fylde 
at Wharton ; his father was the head keeper at Clifton, and 
claimed to be descended from General Wade, of road-making fame 
in Scotland. Thomas Wade was apprenticed to a house-painter, 
but devoted aU his spare time to the study of art, and eventually 
entered the Royal Academy Schools ; during the intervals of study 
he practised his handicraft of house-painting to enable him to pay 
his way. He was influenced by the Pre-Raphaelite movement 
and exhibited both oil-paintings and water-colours at the Royal 
Academy from 1867, ** Carting Turf from the Moss " and " He's 
Coming," to 1890, "The Harvest Field." He lived principally 
at Kendal, and on the banks of Windermere. He died March 
14th, 1891. 

No. 1713. An Old Mill. 

Adark wooden mill whose red sails are spread and seen against the 
sky ; the white plaster wall of the thatched cot^ge to the right is 
in full sunlight ; on the sandy road are a horse and cart, loaded 



WADE— WALKER. 291 

ivith sacks ; behind a few cottages and some trees. Signed and 
dated 1879. 

Water-colour, 1 ft. 8| in. A. by 1 ft. 9 in. to. 
Exhibited at the Bojal Academy in 1879. 
Chantrey Purchase, 1879. 



(Frederick), A.&.A. 
B. 1840. D. 1876. 

Frederick Walker was bom in Marylebone, London, on the 24th 
of May, 1840, and received his education at the North London 
Collegiate School in Camden Town, where even as a boy he seems 
to have shown considerable ability in drawing. At the age of 
sixteen he entered the office of an architect, probably with a view 
to qualifying himself for that profession, but he did not stay there 
long, and after a while he joined Mr. Leigh*s art classes in 
Newman Street, reserving part of his time for studying the Antique 
at the British Museum. 

In 1858 he was admitted a student of the Boyal Academy, and 
before long had attained sufficient skill to be employed as a 
draughtsman for wood engraving. Li this capacity he passed two 
years in the atelier of Mr. J. W. Whymper, receiving at the same 
time commissions on his own account for the illustration of variom 
periodicals, viz., "Once a Week," "Good Words," and the 
"Comhill Magazine." Li the last journal Thackeray was then 
writing his novel " Philip," and attracted by the skill of Walker's 
drawings engaged the services of the^ youthful artist to supply 
illustrations for the story — ^based at first on rough sketches made 
by his own hand — ^but subsequently designed and executed entirely 
by Walker. He also illustrated the first portion of Thackeray's 
last work " Denis Duval," published in the same journal, but unfor- 
tunately left unfinished at the novelist's death. 

In 1864, Walker was elected an Associate of the Society of 
Painters in Water Colours, but he had already begun to paint in oil, 
and exhibited at the Boyal Academy (in 1863) his first picture, 
" The Lost Path," representing a poor woman with an infant in her 
arms wandering in the snow. He does not seem to have painted 
again for the Boyal Academy Exhibition until 1867, when his well 
known picture of ^ The Bathers " attracted much attention. This 

(B.A) T 2 



292 WALKEB, 

was followed in 1868 by ** The Yagrants/' a work wMcfa is now 
the property of the National Gallery, and is described below. 
During the four following years "Walker executed and ex- 
hibited « The Old Gate," 1869 ; " Ploughmg " (a Somersetshire 
landscape), 1870 ; " At The Bar," a large and eminently pathetic 
picture, 1871 ; and " The Harbour of Refuge," (described below), 
1872. He was also a frequent contributor to the exhibitions held 
by the Society of Painters in Water-colours, where in 1866 he was 
admitted to the rank of full membership. 

The career of this original and gifted artist was unfortunately 
destined to be a short one. It is probable that he inherited a 
tendency to consumption from his father, who had died young, 
and in 1873 the state of his health was such as to '^eiidbr it adyis- 
able for him to pass the winter in a warm climate. He travelled 
to Algiers in December, but returning to England iii an utitdsnidly 
cold spring, found but little benefit from the bhinige,^'ttnd his 
last exhibited picture, "'The Right of Way," showed Mdio^bna 
of failing health and power. He went to Bcbtl^d in 'the iiope 
of recruiting himself, but gradually becaime Vi^aker, 'and* died 
at St. Fillan's, in Perthshire, on the 5th Jime, 1875. He was 
buried in Cookham Churchyard, hear '1;he pi6turei4ue 'fOIage 
and scenery which' had often supplied * Subjects Ifor his' bhish'and 
pencil. 

No. 1209- The Vngrants. 

An autumn scene. In the centre of the pi6ttire 'a gips;^' Somali, 
with an infant in her arms, Bits orer a'^fiEiggot'*^fire,'the'"teoke 
from which drifts across'the foreground. 'On 'the 1^ a little 
girl tenderly Ijupports her young broiler, while an <dder boy 
stooxMS forward tafeed the flame with dry brush-wood. On the 
right staaids a tall and handsome gipsy woman watching the 
fire. On the left a two-wheeled cart stands by the liill side. 
A sedgy pool or flooded meadow lies to the Hght surrdunded by 
moorland. 

On canvas, 2 ft. 8J in.*;i. by 4 ft. If in. to. 

Etched by Charles Wtfltaier. 

Purchased at the sale Qt the late Mr. WiUiam^ Oratuun's pictures in 
London, 1886, from a fund bequeathed by the^late Mr. Jtohn Luoas 
Walker. 

No.'1.3*l. Thel Harbour of Refunge. 
On the left of the picture, standing at the end of a terrace walk 



WALKER— WAI4LEB. 293 

which ranfl romid a quadnuoffular group of red brick almshouses, 
one of the inmates, an old woman, leans on the arm of her 
daughter. In the middle distance is a statue raised on a stone 
pedestal, at the base of which other pensioners sit or stand con- 
versing. On the riffht of the foreground a youthful labourer, with 
bared arms, is mowmg down the daisy-sprinkled grass. Beyond is 
a thorn tree in full blossom. In the centre of the background the 
ivy-grown gable of the alms-house chapel rises above the adjoining 
bmldings. The sky is suffused with the yellow glow of sunset. 

On canvas, 3 ft. 9^ in. h, by 6 ft. 6 in. to. 

Painted in 1872. 

Btched by Robert Macbeth, B,^ 

Presented by Sir William Agnew, Bart., in 1893. 

No. 2080i 27ie Woman in White. 

This Ib the cartoon executed in 1871 to advertise a dramatised 
version of Wilkie Oollins' story. It was one of the earliest 
designs of the kind by an artist, and Walker himself described it 
as " a first attempt at what I consider might develop into a most 
important branch of art.'' 

On paper, in black and white, 7 ft. 1 in. h. by 4 ft. 2| ins. w. 

Exhibited at the Dndley Gallery in 1872 and again in 1876. It had 
been in the Yaile Collection. It was purchased by Mr. Phillips, at 
OhristieB, in 1906. 

Presented, by Mr. Claude Phillips, in 1906. 



i (Samuel Edmund). 
B. 1860, D. 1903. 

Samuel Edmund Waller was bom in Gloucester on June 16th, 
1850. He was educated at Cheltenham College for the Army ; he, 
however, devoted himself to art and entered the Royal Academy 
Schools in 1869, and two years later he exhibited two small 
pictures at Burlington House. He was a frequent exhibitor at 
all the principal exhibitions, and many of his works have been 
engraved, amongst others, " The Empty Saddle," " The Day of 
Beckoning," " *Twixt Love and Duty," « Alone," and " One-and- 
twenty." Waller contributed several articles to the magazines, 
and was author of " Six Weeks in the Saddle " and " Sebastian's 
Secret/' He was a member of the Society of Oil Painters, and 



294 WALLER— WALLIS. 

died at Wyohoombe Stadios, Haventock HiU, on the 9th of 
Jane, 1903. 

No. 1S51. '' Success ! " 

A duellist is leaving the ground ; an old servant wraps a cloak 
round him and his second hurries him into a carriage which ig 
waiting to carry him away. Signed and dated 

S. E. Waller 

1881 

On canvas, 4 ft. 4|in. K by 6 ft. 11^ in. to. 
Exhibited at the Boyal Academy, 1881. 
Tate Gift, 1894. 

No. 1S52- Sweethearts and Wives. 

Moss-troopers returning with spoils to their castle during the 
wars between the English and Scotch. 

"On the first mmour of impending dif&cnltiea between the Scotch and 
Bnglish, the moss-troopers would sweep swiftly over the ooontry, takins 
every head of cattle within reach— frequently plmidering both sides with eqniJ 
impartiality, and returning to the security of their castles to be welcomed 
home by their wives and sweethearts, who were nearly as enthusiastio in 
the matter as themselves."— Sorc?«r History, 

A wounded moss-trooper, on a grey horse, is supported into the 
courtyard of the castle by an older comrade; a fair-haired lady in 
black and gold caresses his nerveless right hand. Other troopers 
follow with triumphant gestures, lowering their arms as they enter 
the dark gateway, where a group of women and girls await them. 
Signed and dated ' 

S. E. WaUer 1882 

On canvas, 4 ft. 8^ in. h, by 6 ft. 6| in. w. 
Exhibited at the Boyal Academy in 1882. 
Tate Gift, 1894. 



WAXiXiZS (Henry). 
No. 1685a Death of Ghatterton. 

** Cut IS the branch that might have grown full straight 
Burned is Apollo's laurel bough " 

The unfortunate poet, who committed suicide by poison in his 
lodging after a bnef career as a writer conspicuous for his 



WALLIS— WARD. 295 

brilliant literary forgeries, is represented lying on his bed dressed 
onhr in his shirt and breeches. His right arm is hanging over the 
bed, and the bottle, which has escaped from his hand, lies on the 
floor. Throngh the garret window is seen the dome of St. Paul's 
over the roots of the surrounding houses against the light of 
early sunrise. To the left is an open tilink containing his manu- 
scripts, some of which are torn up and lying on the floor. A 
candle which has just expired, and a rose tree in a pot in the 
window, shedding its last leaves, are introduced as symbolising the 
departing spirit. Signed, H. Wallis, 1856. 

On canvas, 1 ft. llf in. A. by 2 ft. llf in. to. 

Exhibited at the Royal Academy in 1856 ; at the Paris TTniversal 
Bxhibition in 1867 ; and at the Corporation of London Loan Exhibition, 
Guildhall, in 1896. 

Bequeathed by Mr. Oharles Gent Clement in 1899. 



(Edward Matthew), &.A. 

B. 1816. D. 1879. 

Edward Matthew Ward, a nephew (on his mother's side) of 
Horace and James Smith, the authors of " Rejected Addresses," 
was bom at Fimlico in 1816. Under the advice of Sir David 
WiUde, he became a student of the Royal Academy in 1835, having 
in the previous year exhibited his first picture, a "Portrait of 
Mr. 0. Smith the comedian, in the character of Don Quixote." 
In 1836 Ward went to Rome, where he remained nearly three 
years, and gained the silver medal of the Academy of St. Luke 
in 1838. After devoting a short time in Munich to the study 
of fresco-painting, under Cornelius, he returned to England in 

1839, and exhibited his picture of "Gimabue and Giotto." In 
1843 he competed for the prizes offered for cartoon designs for the 
decoration of the Houses of Parliament, but his "Boadicea, 
though commended, did not obtain a premium. From the year 

1840, up to the time of his death. Ward was a constant exhibitor 
at the Royal Academy. His picture of Dr. Johnson reading 
the MS. of Goldsmith's "Yicar of Wakefield," exhibited in 
1843, first brought him into notice. Two years later he painted 
*'Dr. Johnson in Lord Ohesterfield's Ante-Room," which 
attracted muoh attention and probably 1^ tp his being electa 



8»e WARD. 

an A/mbcaaAe of the Boyal Academy m the following year. In 18&2 
Ward reoeiTed a commianon to paint eight histoiieai'pi0tiires 
for a corridor of the House of ' OomiBioM; Some of theae were 
at first executed in oil, bnt were snblseqneittlypaiifted'in fresco, 
and two (the "Landing o^ Charles n."*^ and the "Acquittal of the 
Seven Bishops") in "water-glass." In 1855 Ward was elected 
a BoyaJ Academician. For some years before his deatb Wiurd's 
health was yery indifferent, and^ though naturally- ol^ a clwoi'fnl 
temperament, he became subject at intervals to int^ts» defH^ession 
of spirits, which at length induced* temporary mental abeaeration 
and hastened his end. He died on the 15th of- Jauuany^ 1879; 

No. 430. Doctor Johnson in the Ante-room of Lord 
Chesterfield^ Waiting for an Audience^ 1748. 

An incident founded on his lordship's neglect ■ of Dr. Johnson, 
during the progress of his Dictionary. 

** Seven years, my lord, have now passed since I waited in your ontward 
rooms, or was repulsed from your door ; dnring which time I have been 
pushing on my work through difficulties of which it is useless to complain, 
and have brought it, at last, to a verge of pnblication, without one act of 
assistance, one word of encouragement, or one smile of favour. Such treatment 
I did not expect, for I never had a patron before."— JB<Mu;«2r« Life c(f Johnson, 

On canvas, 3 ft. S^in. h. by 4 ft. 6^ in. to. 

Engraved by C. W. Sharpe, and by Lumb Sto<^ BiA., for the Art 
Union of London in 1880. 

Exhibited at the Royal Academy in 1845. 

Yemen Collection, 1847. 

No. 431. Tlie Disgrace of Lord Clarendon^ after his 
last Interview unth the King^ Wliitehall RiUice^ 1667, 

Lord' Clarendon is descending the garden st^ps ; the retiring 
figure in the middle dilrtiance, of wMch the ba^ only is seen, 
represents the king, Charles IT. Various courtierB^ aaMmg-whom 
is conspienous Lady Caatlemaine, in the baloony) are esnltuig in 
the disgrace of the fallen minister. Pepys' Diary p 

On canvas, 1 ft. 9 in. h, by 2 ft. 4^ in. to. 

Engraved by F. Baoon. 

Sketch of the picture in the oodlection of Lotd Nt>rthwiok. at 
Qheltooham. 

Exhibited at the Boyal Academy in 1846. 

Vernon Collection, 1847, 



WARD. 287 

No. 43flb- The Sottih 8m Bubble, a Soene in- Chang* 
AOey in 1720. 

** The earth hath bnbblecL as the water hath ; 
And these are of thBmJ^—Macbeih. 

'^The-erowds were so great within doors that tables with clerk* were set In 
th^ streets. la th^s motley throng were blended all ranks, all professions, and 
an parties, chnrchmen and' dissenters, whigs and tories, oonntry ffeBtleaieiiaad 
hw t sg s t An ea0»r stiif e of tongues prevailed in this second Babel: new reports, 
new subscriptions, new transfers flew from mouth to mouth; and thoToioe of 
ladles ff(ir ^en maar ladies had turned gaBablers) rose loud and ■inenmsnt 
abOTe toe general thzong;*— Xard Mahon*% History of England, 

** Our greatest ladies hither come 
And ply in chariots daily, 
Orpawn their jewels for a sum, 
To venture it in Alley.'* 

Ballad of the TlfiM.* 

On oanyas, 4 ft. S in. h, by 6 ft. 2 in. to. 
Engraved by J. Carter. 
Exhibited at the Royal Academy in 1847. 
Yemon Collection, 1847. 

No. 610. James Il.y in his Palace of Whitehall^ 
receiving the News of the Landing of the Prince 
of Orangey in 1688. 

*'H» turned palet, and remained mdttonless ; the letter dropped from his 
hand ; his past errors, his future dangers rushed at once upon nis thoughts ; 
he st]K>ve to conceal his perturbation, but, in doing so, bevayed it ; and his 
courtiers, in affecting not to observe him, betrayed that they did.'*-nSMrVoAi» 
DahvmplerMtfnoirt, 

On canyas, S ft. 11| in. h, by 5 ft. 11^ in. w, 
BzhibitedHi* the Bogral Academy in 1850. 

Beqneathad by Mr. Jacob Bell in 1859. 



(James), a^.A-., 1769-1859, 

Was born in Thames Street, London, Oct. 23, 1769. He was 
originally placed with J. B. Smith, the engraver, bat was after- 
wards articled to his elder brother William, a mezzotint engraver, 
and he practised as an engraver himself for some years ; hot he 
afterwards took to painting, imitating the manner of Morland, 
his brother-in-law. Some of Ward's early pictures were engraved 
by .his brother William Ward, A.E., and some were sold in Ireland 
as works of Morland* In 1794 James Ward was appointed painter 



298 WARD. 

and engraTer to the Prince of Wales, and he engraved Sir W. 
Beechey's large picture of the " Beview of the Third and Tenth 
Dragoons." 

It was shortly after this that, through a connexion with the 
Royal Agricultural Society, Ward was led to take to animal 
painting, a branch of the art in which he eventually attained such 
great eminence. His masterpiece is the large picture of an Aldemey 
bull, now in this collection. Sir John F. Leicester, afterwards 
Lord de Tabley, and Mr. John Allnutt, of Olapham, were his two 
principal patrons as an animal painter. 

Ward was elected an associate of the Royal Academy in 1807, 
and an academician in 1811, and he was an exhibitor from 1792 to 
1855, contributing altogether 287 works to its exhibitions. He 
died November 17, 1 859, in his ninety-first year.* 

No. CSS. Landscape with Cattle, 

Aldemey bull, cow, and calf in the centre ; another cow, sheep 
and a goat in the foreground ; all life size. In the distance 
meadows with cattle grazing. Signed, " J. Ward, R.A." 

On canvas, 10 ft. 8 in. A. by 16 ft. 10 in. w. 

Painted in 1820-22, as the artist himself informs us, at the suggestion 
of West, in emnlation with the celebrated picture of a boll at the 
Hague, by Paul Potter. It was exhibited in 1823, shortly after its 
completion, in the British Institution, and afterwards in America. 
The Aldemey animals represented were the property of Mr. Allnutt of 
Glapham. Purchased from l^e painter's son, Mr. Gt, R. Ward, in 1862. 

No. 1043> A Landscape^ Qordale Scar^ Yorkshire. 

A dark ravine between lofty cliffs of stratified limestone, over 
the summit of which storm clouds are rolling. The foreground 
and middle distance are occupied by cattle and deer. In the 
background is a waterfall. 

On canvas, 10 ft. 11 in. A. by 13 ft. 10 in. w. 

Painted for the first Lord Bibblesdale. Purchased from the present 
Lord Bibblesdale in 1878. 

No. 214:2. Qordale Scar ; a Stvdy. 

This is a sketch for the landscape setting of the great picture 
No. 1043. 

Oil on brown paper, 12^ in. A. by 1 ft. 4^ in. w. 

Purchased from Mr. K. W. Howes out of the Lewis Fund, 1907. 

' ■ > 

•^r^JoumoZ, 184M0. Royal Academy CatcAogwi, 



WARDLE— WATERHOUSE. 299 

(Abthub). 



No. 1947. Fate. 

An African leopard has caught a guinea fowl on the edge of a 
jungle, and is playing with the bird as a cat does with a moose. 

On canvas, 3 ft. 1} in. A. by 4 ft. 10^ in. to. 
Chantrey Pnrohase, 1904. 



WATBRBOUSB (John William), &.A. 
No. 1541. Consulting the Oracle. 

"The oracle was a human head, cured with spices, which was fixed 
against the wall ; and lamps being lit before it, and other rites performed, 
the imagination of diviners was so excited that they supposed that they heard 
a low voice speaking future events." 

The scene as described above is taking place in a temple with 
latticed windows looking out to the sunlit houses of an Oriental 
town. On a pavement raised in a semi-circle before a shrine seven 
women are seated listening with various expressions of interest 
and emotion for the voice of the oracle. On the left of the picture, 
placed on a bracket in front of a curtain, is a mummy*s head 
between two lamps standing on candelabra, and a priestess, in a 
dark blue dress with a yellow sash and a band round her head, is 
stooping before the mummified head and motioning for silence 
with her left hand. A censer, in which incense is burning, stands 
in front on the inlaid marble floor of the shrine. Signed, J. W 
Waterhouse. 

On canvas, 3 ft. 10^ in. A. by 6 ft. h\ in. w. 
Exhibited at the Boyal Academy in 1884. 
Tate Gift, 1894. 

No. 1S42> Saint Eulalia. 

Pmdentius says, that the body of Saint Enlalia was shrouded "by a 
miraculous fall of snow, when lying exposed in the Forum after her 
martyrdom.** 

The martyred saint is lying dead in the snow at the foot of a 
cross from which her body has been detached. Behind, steps lead 
down to an open place surrounded by a portico with Doric 
columns, and the angle of a Corinthian f a9ade is seen on the left. 
A BomAn soldier stands on guard, and keeps off a group of 
monmers gathered on the steps in attitudes expressive of grief 



300 WATJ1BH0U8E— WATERLO W. 

and anffer. NnmeraoA pkiBons fly, aboiU the croM and circle 
round &e body. Signed, J. W. Waterhouse. 

On canTBS, 6 ft. 1 in. h. by 3 ft. 9 in. to. 
Exhibited at the Boyal Academy in 1885. 
Tate Gift, 1894. 

No. 1843. The Lady of Shalott. 

** And down the river's dim ezx)an8e. 
Like some bold sedr in a trance. 
Seeing all his own mischance— 
With a glassy countenance. 

Did she look to Camelotr 
And at the closing of the day 
She loosed the chain, and down she lay 
The broad stream bore her. fax away . 

The Lady of Shalott" 

-^Tmnvtm*" The Jtddy tfShdlottr 

DreflMd^'inr white, witii cracifix and. candles ^ befetre her, she 
loosens the chain of the boat, which 18 gliding from nnder the 
willowftidftmithe stroana^ Signed ai^ dated^ J' W. Waterhouse, 
188ft. 

On cafrras, 4 ft. 10| in. h, by 6 ft. 6 in. to. 
Exhibited at the Boyal Academy in 1886. 
Tate Gift, 1894. 

No. HM^ftr^ The i Magic Circle. 

A black-haired witch, in. steels-blue robe, wi^ serpents 
twined about her neck, walks, chanting, round a brazen cauldron, 
and draws the magic circle in the sand ; magic herbs and flowers 
are stuck in her amethyst-coloured sash, and she holds a golden 
sickle in her hand ; seven black ravens, a toad, poppies and hem- 
lock are upon the ground. Behind, in the moonlight, are cave 
dwellings, twinkling lamps, and two other witches. Signed and 
dated, J. W. Waterhouse, 1886. 

On canvas, 6 ft. lOf in. h. by 4 ft. f in. to. 
Exhibited at the Boyal Academy in 1886. 
Ghantrey Purchase, 1886. 



WiAfiaWBLTtOW^ (Sir Ernest Aj^b^bt), 
No. ISVC'ii Oalway Gossips, 

On- a sandy road leading past some thatched- cottages ; a girl 
on a pony with a red handkerchief on her head and a saok 



WATERLOW— WATTS. 301 



over her isdiottlders is talking to an old man with a skMe who 
leans oreraroagh wall ;* further along the T6ad am old^^w^nan 
is drivbig seme {Mgs ; grey doads float in front of the liiark 
mountain in the chstance. Signed, E. A. Waterlow. 

On'ooarraB, 2 ft. 5^ in. A. by 4 ft. 1^ in. to. 

Bthibifeed at the Royal 'Academy in 1S87. 

Ohantirey^Pi&otese, 1887. . 



* WATTS CBVOBOS FbxdhmOK), OtM., &iA. 

B. 1817. D. 1904. 

George Frodefick' Watts was horn in 'London, on^tfae ^rd of 
February, 1817. ffis father came to this oity from'Herefbrd'Bome 
years before. While' stall a boy he'psiirted a ^series of "small 
pictures froto'6ir Wlilter Scott's poems and norels,' a sprnted- com- 
position of the irtrriggle for the body of Patroclns,' and -nereral 
pictures of Csii^kHers and'Bouixdheads, and certain battle -jneces in 
the manner of Balrator Bosa. 'Amougst these torly -works^ also 
are some getitle^ pastoral scenes in quite a ' Greek spirit. 'Watts 
worked for a very sho^trtime in the Boyal Academy Schools, and 
afterwardtr^drew ftom the casts in the studio of WiBiam Befanes 
and watched' that' sculptor at work, but he 'never' receired any 
direct ifidtiiitTtion. His real teachers, as he often -said, were the 
Elgin Marbles. 'From the first he was profoundly impressed by 
them. The/ibeeame -thestandard by which be tried his own- work, 
and 'from them his feeling for style and form*were 'derived. 
There is a portrait of himself of about this time pointed in 1834, 
others of Jaimes Weale, 1835, of the artist's father, of <^ Little 
Miss Hopkins," and of Richard Jarvis, painted in 1836. In 1837, 
he first exhibited at the Koyal Academy, 'two portraits knd- the 
** Wj?nnded Heron,* ' discovered in a Newcastle dealer's shop in 
1895, aud restored to the artist's possession. In 1839, he^ethibited 
a figure subject '* Cavaliers and Roundheads," followed by ^Isabella 
finding the corpse of her nnirdered Lover," 1841, snd *'A Scene 
from Cymbdine," in 1842. At the 'lame time, the *7«mBg artist 
exhibited a- portrait of 'Mrs. Oonsta(ntine looides, ^whose husband 
was one of^-hhi ftrtot pa^rossjand whoB0%oiis and'graiMbons, grand- 
daughter and great grandanghter sat to the artist in ngalar 



302 WATTS. 

snocession. For this patron also was painted the early picture of 
*' Aurora floating through the air followed by a flight of children/' 
a picture that links the art of Watts to that of Etty and Frost, 
the exponents of ideal art of that time. The Boyal Oommission 
appointed for the decoration of the Houses of Parliament offered 
prizes in 1842, to those artists whose cartoons for frescoes were 
best suited for that purpose. In the exhibition held in West- 
minster Hall the following year, Watts received a prize of £300 
for a design of *^ Oaractacus led in triumph through the streets of 
Rome." Some fragments of this cartoon are now in the possession 
of Lord North bourne. The prize enabled Watts to visit Italy in 
1843. He remained there for about four years, for the most part in 
Floience, where he enjoyed the friendship of Lord Holland, the 
British minister at the Qrand Ducal Court, and where he met many 
of the interestiBg people of the day, and painted some portraits, 
including one of Lady Holland exhibited in 1 848. In the Villa 
Careggi he painted a fresco after making some studies in that 
medium, fragments of which are in the Victoria and Albert 
Museum. In 1847 Watts sent to the Westminster Hall com- 
petition an oil painting of " Alfred inciting his subjects to pre- 
veut the landing of the Danes, or the first Naval Victory of 
the English," which obtained a first prize of £500, was pur- 
chased by the Government and now hangs in a committee room 
of the House of Lords. This led to the commission for the 
fresco of '* St. George overcoming the Dragon," which was begun 
in 1848 and finished in 1853, and formed part of the decoration 
of the Hall of the Poets. Like other work in that part of the 
building it has unfortunately decayed, and is no longer to be 
seen. Watts next proposed to paint the large hall of Euston 
Station, gratuitously, with a series of frescoes illustrating " The 
Progress of the Cosmos," but his offer was refused. A similar 
offer made to the Benchers of Lincoln's Inn was followed by 
the painting of the greatest British fresco decoration, ^'Justice, 
A Hemicycle of Lawgivers," ox\ the north wall of the Hall. 
Meanwhile, Watts continued to paint portraits and other pic- 
tures. In 1849 he exhibited "Life's Illusions," now in this 
Gallery, the first of the great allegories by which perhaps he 
is best known, and "The People that sat in Darkness," now 
in the Gallery at Limnerslease, Compton. In 1850, he gave 
expression to hit great zeal for suffering humanity in his picture 



WATTS. ' 303 

of " The Good SamaritanJ * painted as an expression of the artist's 
admiration and respect for the noble philanthropy of Thomas 
Wright, of Manchester. To that city Watts presented the work. 
In 1856, Watts visited Lord Holland in Paris, and there painted 
portraits of Thiers and other famous Frenchmen. Meanwhile he 
began that noble series of portraits of some of the greatest men 
of the times, his gift to the National Portrait Gallery. Notable 
pictures of the same period are " Sir Gdahad," painted in 1862, 
and *' Ariadne in Nax os," of 1863. Watts was elected an Associate 
of the Royal Academy in 1867, and full Academician the same 
year. Although he travelled abroad to some extent, going to Asia 
Minor in 1857 with the expedition sent to study the ruins of 
Halicamassus, and visiting in later years Italy, Greece and Egypt, 
'the greater part of his life was spent in the laborious seclusion of 
his studio at old Little Holland House, Melbury Road, Kensington, 
where he settled in 1849. In 1874-5 he built the well-known 
house and picture gallery in Melbury Road with the same 
name, where he painted the great cycle of the history of 
hamanity that he so generously presented to the Nation when 
this Gallery was founded in 1897. ( Watts Gift, Room No. VII.) 
Besides these monumental messages to humanity he painted many 
subjects from the Bible story and from classical myth, such as 
" The Prodigal Son," " The Meetin g of Esau and Jacob," and 
" The Curse of jO^" ; " Qrpheusjand^urydice," " Daphne," and 
" T he Ohildhoo d_of Zengj' ; subjects from the poets such as 
"Paola and Francesca," " l^nd ymion J * and " Fata M prgj^ni^." 
Watts also painted a few sober and dignified. landscapes, such as 
"The Oarrara Mountains" and "All the air a solemn stillness 
holds." 

Watts acquired a knowledge of sculpture in the studio of 
Behnes when a boy and always had some modelling on hand. 
His bust of "Glytie" now in this Gallery was done in 1868. 
Other works in this branch of art are the monuments to the 
Marquis of Lothian, to Bishop Lonsdale and Lord Tennyson, 
His large bronze equestrian statue of " Hugo Lupus " for Eaton 
Hall was completed in 1884, and the colossal " Physical Energy" 
has been used as a monument to Cecil Rhodes on the Matoppo 
Hills. Another bronze of this inspiring composition is to be placed 
in London. A large collection of his most important works will 
form a permanent collection at Limnerslease, Oompton, in Surrey 



304 WATTS. 

where the artist spent mnch of his time doring his latest years. 
H^^ed at Little Holland House on July Ist, 1904, delighianff in 
work to the very end of his long life. Watts was made a memher 
of 'the newly founded Order of Merit in 1902. 

%o. 1561.* Portrait of the Artist. 

The artist is seen to the elbow, against a grey panelled -waU. 
He is looking over his left shoulder out of the pictiire, his 
hands resting on a red boand book ; he wears a . dark yelvet 
coat, and a black slouch hat. Signed and dated, G. F. W., 1864. 

On canvas, 2 ft. 1^ in. K by 1 ft. 8i in. to. 
Beqmeftthed by Sir WiUtam Bowman, Bart., 1897. 

N0..JJB4W.* Psyche. 

In the grey morning light Psyche, her lamp thrown down, stands 
in an attitude of despair by her couch, looting down at a feather 
from the wind! of Eros who has flown away. The Greek myth, 
" Psyche and Eros," is a parable of the union of the soul with 
Divine Love. The face of Eros is always hidden from Psyche by 
the darkness in which he comes to her ; yearning to see him, 
Psyche lights her lamp while he sleeps, Eros awakes and flies ; 
Psyche is condemned to wander over the earth in search of him, 
till through infinite suffering re-union is permitted. 

On eanvas, 6 ft. 2^ in. h, by 1 ft. 11} in. w, 

Ezbibited at the Orosvenor Qallery in the year 1880, and at the 
Winter Bzhibition of the New Gallery, 1896-97. 

Ohantrey Purchase, 1882. 

No. 1C30>* Mammon {Dedicated to his Worshippers). 

The god of riches, with asses' ears, clothed in gold brocade and 
crowned, sits on a red throne adorned with skulls, his money bags 
lying in his lap. With his heavy hand he crushes the head of a 
young girl, whose green garment, symbolic of hope, has fallen 
from her. His foot rests on the body of a nsJced youth. A 
crimson curtain f onus ^e background, beneath which a flame and 
smoke are dimly seen in the distance. 

On canvas, 6 ft. 11| in.'^. by- 8 ft. 64 in. w 

Painted in 1885. 

Bxhibited at the Wmiier ExUbiuon of the New-CbllaKyy 1896*-97. 

Watts Gilt, 1897. 



WATTS. 305 

No. 1631«* The Dweller in the Innermost. 

** The vague figure may be vagaely called oonsoienoe.*** 

Within her outspread wings Conscience sits brooding, a bnght 
star upon her head ; her left hand supports her chin, her fright 
holds the silver trumpet of Truth, on her lap lie winged anrows, ' 
symbolic of the stings of conscience. 

On canvas, 3 ft. 6| in. h. by S ft. S^ in. w, 

Bzhibited at the Winter Exhibition of the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1632>* ^*' For he had great possessions.^* 



" One thing thou lackest : go thy way, aell whatsoever IJRon haat, and give to 
.Jie poor, and tl 
and follow me. 



the poor, and thon shalt have treasure in heaven : and oome take ap thy orotn. 



** And he was sad at that saying, and went away grieved : for he had great 
poBsesBions." 

Saint Mark x^ part of verses 21« 82. 

A three-quarter length fij^ure turns away to an open window, 
with his head sunk low on his breast ; he is clothed in fine raiment, 
wears a turban, and his right hand is loaded with rings ; the moTe- 
ment of the fingers suggests uncertainty whether to open or i^ui 
them. 

On canvas, 4 ft. 7 in. h. by 1 ft. 11 in. io. / 

Exhibited at the Royal Academy in 1894, and at the Winter 
Exhibition of the New Gallery, 1896-97. 

Watts Gift, 1897. 
I ^* ' . 

No. 1C33>* Dray Horses, oh^ «^v5l5uA> ^ocvA. - A^»Ai ^jJX. ^ k^^^Aj 

** Of the order of things fast changing.** 

Two lif e-sised grey cart-horses rest in the shade of a broad- 
leaved chestnut tree, under a red-biick wall ; the stalwart drayman 
leans idly on the shafts and scatters a handful of grain to the 
pigeons in the sun. 

On canvas, 9 ft. 11 in. h. by 13 ft. 3^ in. to. 
Exhibited at the Grosvenor Gallery. 
Watts Gift, 1897. 



* Preface by Qeorge Frederick WattB to the Catalogue of tlio Winter 
Exhibition of the New OaUery, 1897. 

(B.A.) U 



306 WATTS. 

No. 1034.* The Minotaur. , 

Half man, half bull, he gazes from the battlements of a hill- 
tower, seeking whom he may devour, and " from sheer delight in 
omelty " crudes a little bird under his brutal hand. 

On oanvas, 3 ft. 10 in. ^. bj 8 ft. f in. w. 

Exhibited st the Winter Exhibition of the New ealkryr 189^97^ 

WattB Gift, 1897. 

No. 163S>* Death crowning Innocence. 

A little child lies in the lap of the winged figure of Death ; the 
Silent Angel of Pity " takes charge of Innocence, placing it beyond 
the reach of evil."* 

On oanyas, 4 ft. IJ in. A. by 2 ft. 7} in. w. 

Exhibited at t]j^ Winter Exhibition of the New GaUery, 1896>97. 

Watts Gift, 1897. 

No. Itf36>* Jonah. 

*• Tet forty days, and Nuieveh shall be oyerthrown.*'— JonaA iiU 4. 

The gaunt figure of the prophet is stretching out his arms in 
denunciation ; behind him on the blood stained walls of th^ city 
are graven in stone (ymbo's of the vices of tl e times— on the 
highest range horse-racing and betting ; on the middle range 
Mammon with bis money-bags, his worshippers grovelling before 
him, behind the god the priest of the temple ; on the lowest range 
of ail Bacchus, his victims in a drunken heap before him. 

On canvas, 5 ft. ^ in. A. by 2 ft. 11 in. Wi 

Exhibited at the Royal Academy in 1895 and at the Winter Exhibition 
of the New Gallery 1896-97. 

Watts Gift. 1897. 

No. 1637.* The Spirit of Christianity {Dedicated to all 
the Churches). 

The Loving Spirit high above the earth regards, with sorrow the 
dissensions of the Christian -Churches, and shelters beneaili his 
ample ruby robes those little ones who should have been protected 
by Christian love and charity through the teaching oi the Churoheg. 

On canvas, 8 ft. 11^ in. ^. by 4 ft. 1]{ in. w. 

Exhibited at the Royal Academy in 1875 and at the Winter Exhibition 
of the New Gallery 1896-97. 
WattB Gift, 1897. 



• Preface bv George Frederick Watts to the Catatogu 
Exhibition held at the New Gallery in the early part- of Iwi 



e of the Winter 



WATTS. 3f7 

No, 1638.* ** Sic Transit Gloria Mundir 

** What I spent, I had. 
What 1 saved, I lost 
What I gave, I have." 

These words are inscribed on the dark cnrtaia that hangs behind 
the still shrouded figure lying upon the bier ; on the ground lie 
the peacock plumed casque of the warrior, his shield and spear, 
the gauntlet he used as his gage/the roses of love and the scallop 
sheU of the wanderer, the golden cup with the liquor poured 
out, the lute of the musician, the book of the scholar, and the 
ermine of the monarch — emblems of human life afc its noblest ; the 
wreath at the head has reference to the third motto, " what I gave 
I have,'^ the crown at the end. 

On oanyas, 3 ft. 4 in. h, by 6 ft. 8^ in. to. 

Painted in 1892 after a conversation with Carmen Sylva, Queen of 
Boumania.* 

Exhibited at the New Gallery and at the Winter Exhibition of the 
■ame Gallery held in 1896-97. 

Engraved in mezzotint by Frank Short. 

Watts Gift, 1897. 

No. 1639.* Faith. 

" Wearied and saddened by the result of persecutions, she washes 
her blood-stained feet ; and recognising the influence of love in the 
perfume and beauty of flowCTs, and of peace and joy in the song of 
birds, feels that the sword is not the best argumeikt, and takes 
it off." • 

On canvas, 6 ft. 11 in. A. by 2 ft. lOf in. io« 

Exhibited at the Winter Exhibition of the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1640.* Hope. 

With her lyre in her hand, blindfold, and sitting on the globe, in 
the dim twilight of the world, she '^ strives to get all the music 
possible out of the last remaining string."* 

On canvas, 4 ft. 7^ in. h, by 3 ft. 1\ in. to. 

Painted in 1885. 

Exhibited at the Grosvenor Gallery and at the Winter Exhibitioa 
of the New Gallery, 1896-97. 

Watts Gift, 1897. 

* G. F. Watts, his Life and Works by Julia Oartwright. 
CB.-^.) U 2 



308 WATTS. 

*^No. 1641.* Love and Life. 

Love, strong in his immortal youtfi, leads Life, a slight female 
figmre, along t^e steep uphill path ; with his broad wings he shelters 
her, that the winds of heaven may not visit her too roughly. 
Violets spring where love has trod, and as they ascend to tiie 
mountain top the air becomes 'more and more golden. The impli- 
cation is that, without the aid of Divine Love, fragile Human Life 
could not have power to ascend the steep path upward. 

On canvas, 7 ft. 2} in. h, by 3 ft. 11} in. w. 

Engraved by E. Chuton. 

Exhibited at the Grosvenor Gallery in 1885 and at the Winter 
Exhibition of the New'Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1642.* '' She shall he called Woman:' 

*Eye, in the majesty of nnconscionsnefls, typifies what might be hoped 
for hmnanity, * for every human soul has in the way of nature beheld true 
being; •»• 

The first picture of the Eve trilogy. Eve rises upwards, her 
golden hair floating round, surround^ by flowers and birds ; she 
represents the incarnation of the joy of life. 

On canvas, 8 ft. 5| in. h, by 8 ft. 9f in. to. 

Exhibited at the Boyal Academy in 1892 and at the Winter Exhibitioii 
of the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1643.* Eve Tempted. 

The second picture of the Eve trilogy. The head of Eve is half 
buried midst the blossom and fruit of the Tree of Knowledge ; at 
her feet is a panther, she listens to the subtle words of the snake, 
whose scales gleam through the leaves. 

On canvas, 8 ft. 4^ in. h, by 8 ft. 8} in. to. 

Exhibited at the Winter Exhibition of the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1644.* Eve Repentant. 

The third picture of the Eve trilogy. TJ>e mother of all livins 
buries her face against tbe trunk of a tree, her shoulders contorted 

-. ■ ■ ■ 

• Prefaiorvr note by Qeorge Frederick Watts, &A.,to the catalogue of the 
Winter Exhibition held at thp New Ganerv it* thw *»arlv T»»rt of Iftfl? 



i 



WATTS. :w 

in an agony of remorse and shame ; the long lines of the figure are 
shrouded by her golden hair ^ and help to express the bitterness of 
her sorrow for the sin that brought death into the world. 

On canvas, 8 ft. 4^ in. h, by 8 ft 9^ in. to, 

Bxhibited at the Winter Ezhibiton of the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1648.* Love and Death. 

"The progress of the inevitable but not terrible Death, partially, bnt not 
oompletely overahadowa love."* 

" Death, a mighty form, draped in white from head to foot, 
adyances with outstretched arm into the house of Life all unheed- 
faig of Love, the fair boy who meets him on the threshold and 
struggles passionately to bar the way. Love is rudely pushed 
aside, his bright wings ruffled and cruuied in the fray, while the 
Mossoming roses drop withered from the door-posts, and on the step 
the tortle^Love moans in her loneliness."f Love, in this picture 
presents the idea of the happiness of home in the house of life ; 
the action of the figure admits of no conflict, love may endeavour 
to avert, but cannot contend with the inevitable. Death is a 
female fi^re implying that she is the Nurse, Oonsoler, and perhi^;w 
the Mother of another life. 

On canvas, 8 ft. 1} in. h, by 3 ft. 10 in. to, 

Bngraved by Frank Short. 

A replica of a picture exhibited at the Grosvenor GkiUery in 
1877. And this picture at the Winter Exhibition at the New Gallery, 
1896-97. 

Watts Gift, 1897. 

No. 1646.* The Messenger. 

The Messenger gently touches with his right hand the arm 
of a' worn out man, leaning back in his chair, and delivers the 
message of repose after Me*s work. The implements of the arts 
and sciences lie all about him, neglected, in the presence of the 
genius of rest ; the child in the arms of the Consoler after effort 
iiiq>]ies future possibilities. 

On canvas, 8 ft. 11^ in. h, by 4 ft. 10|in. to. 

Exhibited at the Winter Exhibition at the New Gallery, 1896-97. 

Watts Gift, 1897. 



* Prefatory note by Qeorge Frederick Watts, B.A., to the oAtalogue of the 
Winter Exhibition at the New Gallery, 1896-97. 
t G. F. Watts, R.A. His Life and Works by Jnlla Oartwriffht. 



3io Watts. 

No. 1647.* Ghaos. 

The passing of our Planet through the forces of fire, water, and 
confusion is represented ; the reposing giants symbolise the 
upheaving of permanent masses of matter, unheeding the current 
of time, represented by a chain of beautiful female figures passing 
under them. 

On canvas, 3 ft. 5 in. h. by 9 ft. 11 in. w, 

Ezoibited at the Winter Exhibition at the New Gallery, 1896-97. 

Watts Gift, 1897. 

No. 1687.* The All Pervading. 

The spirit that pervades the immeasurable expanse is represented 
as a wioged figure, seated, holding in her lap the globe of tbe 
systems of the stars. 

On canvas, 7 ft. h. by 8 ft. 8 in. to. 

Watts Gift, 1899. 

No. 1692.* Love Triumphant. 

Time and Death having travelled together through the ages, 
have run their course, and are at length overthrown. Love Alone 
arises on immortal wings, triumphantly, with outspread arms to 
the eternal skies. 

On canvas, 9 ft 8 in. A. by 5 ft. 6 in. to. 
Watts Gift, 1900. 

No. 1693.* Titne^ Deaths and Judgment, 

Time, represented as the type of unfailing youth and vigour, 
advances hand in hand with Death, while poised in the clouds 
above their .heads follows the figure of Judgment with the fiery 
sword. The left hand of Judgment holds the balance, emblem of 
eternal law, and hides the head so that his £aoe is not seen. 

On canvas, 7 ft. 7 in. h, by 6 ft. SJ in. to. 

Watts Gift, 1900. 

No. 1768.* " Clytie:' 

Heroic-size bust of Clytie turning her head over her right 
shoulder to look at the sun. She is represented as half ohaBged 
into the sunflower, whoee calyx forms part of the pedestal. Glytie 
was the daughter of Oceanus and Tethys, and was deserted by her 



-»- i 



WATTS. 311 

lover Apollo. Bhe pined awav and was changed into jtlie san- 
flower, wluoh stilt turns i^ he^id to^f^^ds the sjan in his coarse, as 
in pledge of her love. 

Bnmie, 2 It. 9 in. k. 
Walto aiffe, 1900. 

No. 1894.* Ths Court of Death. 

The Universal Queen, clad in a chang^eable green mantle lined 
with red, aits enthroned in quietness on the ruins of the pnde of 
this world ; on either aide are two powers, Silence ^d jJlyBtery, 
guarding, but partially revealing, what is hisyond tl^i^ veil— r^unri^e 
and the star of hope. A warrior, clad in niaol, Bun*epdf3a:8 his awor^ 
at the 4Soo^ of the thi^ne ; an aged ;Qobi]^, in a vermi^iop robe, 
bowB his he^4 and lays doiVQ i^ coron<|b ; .a o^ppile crawls ,to the 
feat of Qeath jto d^mi a respite from hiu pa^i. .On i^he other 
side of the throi^ a pale woman, weary with ^olpiess t^i sufEer- 
ing, lays her he^d lovipgly on the jciyee oi D^eath ; old }^e, too^ 
comes Cor repose, and a tittle child pUya with the g];avp qjlotti^s 
Qnkno9Nrio£^ ; .a Jion, jtype of filiyai^al f orqe, c^ouc^hes pej|r. 
In the arms of the silemt £gare is ^ neT-hor^ babp, l^e jerj 
bfigioni^g ol I#ife being in the lap of Death-ra symbol of now 
Idle in Death. Signed G. F. Watts, finished on jius ;86t}i birthdigr. 

On canvas, 13 ft. 11 in. h, by 9 ft. to. 

Bzhibited, unfinished, at the New ChOlery in 18916-7. 

Watte GHft, 1902. ' 

No. 1913a* A Story from Boccaccio. 

An iUustcation of " Philomena's Tale.*' The eigjith *" Novella " 
of t^ Decameron of Boccaccio. The tale relates that Anastasio 
degli Oneati of Bayenna was in love with the daughter of 
Paolo Traversaro, but had spent a good part of his fortune 
without gaining the lady's affection. At length, at tl^e request 
of his friends, he retired to Chiassi, and, while there, he saw 
in a day vision a lady pursued and slain by a huntsman and her 
body given to his dogs to be devoured. The huntsman of the 
vision was Ouido Anastagi, whom the cruelty of his love had 
driven to suicide, and whoso shade thus avenged his wrongs. 

Anastacio invited his friends, including his lady-love, to dine 
with him on the spot where he had seen the vision, which was 
again visible, and the daughter of Traversaro was so impressed 
by the sight that she repented her former harshness and married 
Anaatasio on the very next Sunday. 

In the picture, on the extreme right, Ouido Anastagi, dagg^ 
in hand, is shown riding a black horse, with a thundercloud 
behind him, and pursuing with two fierce hounds his scornful 



312 WATTS— WEBB. 

lady, who is rushing throngh the forest, her naked flesh torn by 
thorns. Anastasio is in the centre of the picture in an attitude 
suggestive of pity and hope, while the daughter of Traversaro 
and the other guests are grouped to the left, the men of the 
party preparing to attempt a rescue, all horrified at the sight. 

Painted at Florence, between 1848 and 1847. 

On oanyaa, 11 ft. 10 in. h. by 29 ft. 6 in. to. 

Presented by the Members of the Cosmopolitan Club, 1902. 

No. 1920.* Lifers Illusions, 

An allegorical design, typifying the march of human life. 
Seven female forms, abstract embodiments of divers forms of 
hope and ambition, hover in the air above the gulf which 
stands as the goal of all men's lives. At their feet lie the 
shattered symbols of human greatness and power, and upon the 
narrow space of earth that overhangs the deep abyss are figured 
the brighter forms of illusions that endure througn every chang- 
ing fashion of the world. A knight in armour pricks ms steed 
in quick pursuit of the rainbow-tinted bubble of glory. On his 
right are two lovers. On his left an aged student still pores 
over his manuscript by the last rays of the setting sun ; while 
in the shadow of the. group may be seen the form of a little 
child chasing a butterfly. 

Painted in 1849. 

On canvas, 7 ft. 11 in. K by 6 ft. 11 in. to. 

Presented by Mrs. Seymour, 1908. 

No. 1983.* Echo. 

The nymph Echo stands upon a ledge of rock overhanging 
a quiet stream that runs through a narrow gorge in a hilly 
country ; behind her are three trees, and a narcissus lies at her 
feet. A kingfisher is perched upon the dead branch of a tree, up 
which a lizara is running. 

Painted at Florence, between 1848 and 1847. 
On canvas, 12 ft. 9 in. A. by 6 ft. 7f in. to. 
Presented by Mrs. Watte in 1906. 



IB (James). 

D. 1895. 

James Webb, the marine painter, exhibited some 129 works in 
Loodon'between the years 1850 and 1888. In 1853 he exhibited 



WEBB— WEBSTER. 313 

for the first time at the Royal Academy, the picture was called 
<* Thunder Clouds.'' He died, aged about 70 years, in 1895. 

No. 1684. Saint MichaeVs Mounts Normandy. 

A Tiew of the Mont St. Michel when the tide is out. On the 
strip of land which connects the island with the shore at low tide 
a scenic arrangement of figures is grouped around a stranded 
Tessel. In the foreground a peasant woman with children and a 
dog appear to be running to escape the incoming tide. Other 
vessels are seen on the sea beyond the island, and in the distance 
are the hills of the coast. Masses of heavy clouds driving before 
the wind animate the sky. 

On eanvas, 4 ft. 10| in. h. by 7 ft. 11 in. w, 

Jl picture with this title was exhibited at the Royal Academy by 
J. Webb in 1857. 
Bequeathed by the Rev. M. Davison in 1899. 



(Thomas), &.A. 

B. 1800. D. 1886. 

Thomas Webster was bom on the 20th of March, 1800, in 
Ranelagh Street, Pimlico. His father, who held an appointment in 
the household of His Majesty George III., took the child to Windsor, 
where he remained until the death of the King. Young Webster, 
who showed an early taste for music, was at first placed in the choir 
of the Chapel Royal, St. James's ; but having subsequently 
determined to become a painter, he entered the schools of the 
Royal Academy, where he obtained the first medal in 1825 — having 
two years previously exhibited a portrait group. About the same 
time a little picture of schoolboy life entitled " Rebels Shooting a 
Prisoner," which he sent to the gallery of British artists in Suffolk 
Street, attracted attention, and indicated the line of art in which he 
was destined to achieve success. In 1828 he contributed *'The 
Gunpowder Plot" to the Royal Academy, and in the following 
year " The Prisoner " and " A Foraging Party Aroused " to the 
British Institution, where, in 1830, he also sent " The.Sick Child. 
These were followed by numerous other works, among which may 
be mentioned the '* Card Players, '* The Effects of Intemperance,*' 
^ The Intercepted Letter," and several vilUge school scenes. In 
1839 '' The Rat Trap " and " Anticipation " appeared at the British 



314 WEBSTER. 

Instit tion, and " Foot Ball " at the Boyal Academy, where in 1840 
he wafs elected an associate. The next year, still f ailMol to tiiat 
class of genre subjects by which he had won reputation, he produced 
one of his most charming and popular pictures '* The 6m0e and 
the Frown/' well known to the public, like many oi Im works, 
through the engraver's art. The merry scenes of you^ or diiii- 
hood which he chiefly loved to depict wei*^ occ^sion^j dlyers^ed 
by the choice of some pathetic incident, s^ch ^ ib^^ Iffhi^ ^J?^ 
the subject of " Sickness and Sealtb," jwhibited i^ 1^^. ^ 
1846 the Royal Academy admitted Webster to the hmi0Vf >^ 
full membership, and from this period up to the 4ttle 4)C luB 
retirement in 1877 he was a constant ezhibit<Mr witinn Its ^rafis. 
For the last thirty years of his life Webster lived in tfa^ 
picturesque village of Oranbrook, in Kent, but frequently cam^ 
up to London for council meetings at the Royal Academy and 
other business, until his age and infirmities rendered the journey 
irksome. He died in his country home in September, 1886. 

No. 426- Going into School^ called also The Truant 

An old dame is seen within a cottage teaching a child to read, 
two boys on the outside are just skulking into scho<^. 

On wood, 1 ft. 6 in. h. by 1 ft. 2 J in. w. 
Engraved by T. Phillibrown. 
ISzhibited at the Royal Academy in 1896. 
Yemen Collection, 1847. 

No. 427. A Dame^a School. 

"In every village marked with little spire, 
Bmbowered in trees and hardly kno^w^i to f^ano 
niere dwells in lowly shed and mean attire 
A matron old, whom we schoolmisia'eBs name 
Who boasts minUy brats with birch to tame : 
They grieven sore, in piteons durance pent; 
Awed by the power of this relenUees dvoe, 
And of ttimes on vagaries idly bent, ' 
For unkempt hair, or task nnoonned, oxe sorely sheiifef 

The children are seated round the sohQQb:pom4i*t .^4>*.tyv^ ; JP 
front of them a clownish boy in a fffoack frock stands up io ,repeat 
his lesson. 

On wood, 2 ft. h, by 3 ft. 11 in. «;. 
Engraved by Lumb Stocks, B.A. ; and by-H. Bourne. 
Bxhibited at the Royal Academy in 1845. 
Yemon Collection, 1847. 



WEBSTER— WEEKES. 315 

No. X2Z5- Portraits of the Artisfs Father and Mother. 

Painted to commemorate their golden wedding in 1843. Tho 
aged couple are seated, and seen at rather more than half -length. 

On wood, 111 in. K b/ 9| in. to. 

Exhibited at the Intemabional Exhibition in 1862. 

Bequeathed by the Painter in 1886. 



(Henrt), a.iL. 

B. 1807. D. 1877. 

Henry Weekes was bom at Canterbury in 1807 ; he aenpud ffo 
apprenticeship of five years with William Behnes, and studied at 
the Schools of the Royal Academy ; he afterwards became a^uustant 
to Sir Francis Ghantrey, and completed those of his commissions 
that were left unfinished at his death. Weekes first exhibited in 
the Boyal Academy in the year 1828, he was elected associate in 
1850, and full member in 1863. 

In 1838 he modelled the first ^rtrait in sculptme of Queen 
Victoria ; other works by him are John Hunter for the Boyal 
College of Surgeons ; Charles II. for the House of Lords ; the 
figures id. Cxanmer, Latimer, and Bidley, in the Martycs 
Memorial at Oxf oxd ; the Shelley M«Daori«|, Gbrist GhuroJi 
Abbey, Hanpahixe ; and the group " Ibuuiif afllmiswi " in tha. 
Att>ert Memorial. He was elected Prof eaaor a^ Scnl|>tiM» to tha 
Bo^ Academy in 1^3, and died on May 2fttti, 1877. 

No. 19V9« John Flagman, R.A. 

The sculptor is represented standing, in his long working coat, a 
modelling tool in his right hand and his left on a pedestal on 
which is a small model of his group of St. Michael OYercoming 
Satan. 

John Flaxman was born in 1755, at York ; when .only a few 
months old he was 4)ronght to London by his father, who was 
a moulder of figures and lived near Covent Qai^en. Ajs a child he 
modelled figures in wax and plaster, and at the age of fifteen 
gained his first prize at the Society of Arts ; he joined the 
Academy Schools and was awarded a silver medal during his first 



316 WEEKES— WELLS. 

Tear. He went to Rome in 1787, and there produced his well 
known outline designs from Homer and Dante ; they were 
engraved by Piroli, and published in 1793. In 1794 he returned 
to England, and began the monument to Lord Mansfield, in 
Westminster Abbey. The statues of Nelson, Howe, and Reynolds, 
in St. Paal's, are also by him. Flaxman died in London in 1826. 

Marble, 7 ft A.. 

Bequeathed 1^ Mr. Henry Yanghan. 

No. 2075- Thomas Stothard^ B.A. 

Marble bust, 2 ft. 6 in. h. Inscribed at the back, <* H. Weekes, R.A., 
1868." 

Presented by an association of gentlemen, 1868. 

No. 2076> William Mulready^ R.A. 

Marble bust, 2 ft. 10^ in. h. Inscribed at the back, *< H. Weeke$>, 
R.A., 1866." 

Presented by an association of gentlemen, 1868. 



(Henry Tanworth), a.A. 
B. 1828. D. 1903. 

Henry Tanworth Wells was born in London on December 
12th, 1828. He was a fellow student with Mr. Armstead, R.A., 
Mr. T. Smallfield, member of the Royal Water-colour Society, 
and the late H. S. Marks, R.A., at Leigh's Art School, first in 
Maddox Street, and afterwards in Newman Street. At the age 
of seyenteen Wells exhibited at the Royal Academy a miniature 
of "Master Arthur Prinsep." He was an artistic descendant of 
Sir William Roes in the matter of miniature painting, but when 
photography sprang up and temporarily dethroned the delightful 
art, Wells practically forsook portraits in little for portraits in 
large, with occasional excursions into landscape and large portrait 
groups such as the "Volunteers at the Rifle Butts." In all he 
contributed some' 287 exhibits to Burlington House, including 
many drawings for the G-roUion Club. He was elected an Asso 
ciate of the Royal Academy in 1867, and an Academician in 
1871. He died on January 16th, 1903. 



WELLS— WHISTLER. 317 

No. 1919. Victoria Regina. 

Qaeen Yictoria receiving the news of her acoeflsion to the 
throne on the 20th June, 1837. *<0n TuoHday, at 2jt a.m., the 
scene closed (death of William IT. at Windsor Castle), &nd 
in a very short time the Archhishop of Canterbury and 
Gonyngham, the Chamberlain, set out to announce the event to 
their young Sovereign. They reached Kensington Palace about 
five ; they knocked, they rang, they thumped for a considerable 
time before they could rouse the porter at the gates ; they were 
again kept waiting in the courtyiu^, then turned into one of 
the lower rooms, where they seemed forgotten by everybody. 
They rang the bell, and desired that the attendant of the 
Princess Yictoria might be sent to inform H.B.H. that they 
requested an audience on business of importance. After another 
delay and another ringing to inquire the cause, the attendant 
was summoned, who stated that the Princess was in such a sweet 
sleep she could not venture to disturb her. Then they said : 
'We are come to the Queen on business of State, and even her 
sleep must give way to that.' It did ; and to prove that she 
did not keep them waiting, in a few minutes she came into the 
room in a loose white night-gown and shawl, her night-cap 
thrown off, her hair falling upon her shoulders, her feet in 
slippers, tears in her eyes, but perfectly collected and digniQed." 
— "Diaries of Miss Francis Williams Wynn." 

Signed, Henry T. Wells, 1880. 

On canvas, 7 ft. 11 in. ^. by 6 ft. 3 in. w. 

Presented by Mrs. Street and Mrs. Hadley, daughters of the painter. 
1903. 



(James Abbott McNeill). 

B. 1834. D. 1903. 

James Abbott McNeill Whistler was born at Lowell, Massachu- 
setts, on July. 11th, 1834. He was the son of Major George 
Washington Whistler, a distinguished engineer, by bis second 
wife Anna Matilda McNeill, daughter of Dr. C. D. McNeill, of 
Wilmington, North Carolina. At the age of nine he was taken to 
St. Petersburg, where his father held an appointment as engineer 
of the St. Petersburg and Moscow Railway. After the death of 
Major Whistler in 1849, the family returned to Ameriea, where in 
1851 James entered the West Point Military Academy. He took 
his discharge however in 1854, and obtained a post aadraoghtsoian 



318 WHISTLER. 

in the office of the Coast and Geodetio Survey, at Washington. 
By an etching on the margin of an engraved map we learn that 
the^ree months that he spent in this employment taught him 
the technicalities of etching on copper. Early in the year 1855 be 
gave np his positicm and devoted himself to art. After a short 
visit to England, he settled in Paris the same year, and entered 
the studio of the roooAntic painter Gleyve; here he met Degas, 
Braoquemoiid, Legros^ and Fantin'-Latofir, G^tnpge Da Manrier, 
«fd B. J. Poynter. While m Paris he exeocited a series of 
etcifhigir calb^ *'The Little French Set," published in 1858, 
fttnongilt them ''La Vieille aux Loques,'' the "Marchande de 
ttoutaide," and " The Kitchen." Tbe last plate was retouched 
faftlf a century later. In 1859 Whistler was ia London living' 
wiUr hn te^tber-in-kiw Sir Seymour Hades, in Sloane Street. He 
exbihited two '' Etchings from Nature " iHr the Boya! Academy in 
thflt yettr. l)uring this and the three ensuing years he was 
engaged upon the Thames series of sixteen etchings, but they 
were not published till some years later ; amongst the finest of 
them we>e "The Pool/' "Thames Police," and "Bkck Lion 
Wh«urf." Alter sharing a studio in Newman Street with Du 
Maurier, and spending some months working at Wapping, 
WListler settled in Lindsay Row, Ohelsea. His first important 
picture, " At the Piano," was hung at the itoyal Academy in I860, 
and purchased by John Phillip, B. 1. The ** Blue Wave, Biarritz," 
ef 1861, as well as other pictures of this period, shows the inSuence 
of Gourbet. In 1861 Whistler exhibited at the Academy " La 
M^re Gerard," now in the possession of Mr. A. 0. Swinburne, 
This was followed by " The Thames in Ice" (1862, painted 1800?). 
"Die Lange Leizen" (1864), "The Golden Screen," "Old 
Battersea Bridge," " The Little White Ghrl " (1865). In the same 
year " La Princesse du Pays de la Poroelaine," of 1864, was in the 
Salon. " The White Girl " had been exhibited in the " Salon des 
Refuses," at Paris in 1863, and aroused some enthusiasm. 

After a visit to Valparaiso in 1865-66, where he painted 
" Valparaiso Harbomr " and the first of his " Nocturnes," Whistler 
returned to Chelsea in 1866. He resumed the series of pictures 
in'^ which the influence of Japanese art is marked, with " The 
Symphony in White, No. 3"(R.A. 1867), and "The Balcony" 
(R.A. 1870). This was the period of his greatest work ia 
portraiture. The portrait of his Mother (now in the Luxeinbourg) 



WHISTLER. 319 

was in the Academy of 1872, and was shown with the "Miss 
Alexander" and " Thomas Garlyle" (now in the Glasgow Gallery) 
in an exhibition of his works in Pall Mall, 1874. It was 
followed by the series of night-pieoes on the Thames, in which the 
influence of Hiroshige, the Japanese painter, is clearly to be 
traced. 

When Sir Coatts Lindsay started the Grosyenor GnUery in 1877 
these ''Noctnrnes" were first seen and ndyersely critiaised by 
Raskin in ^' Fors Glavigera ; " the notorions libel trial of 1878 was 
the resnlt. After this Whistler published the first of his brown 
(aper pamphlets, *' Whistler v. Buskin — Art and Art Critics ; " 
followed, in 1888, by the " Ten o'clock " ; in 1890, " The Gentle 
Asi of Mridsg Enemies," and in 1899, "The Baronet and 
Aie Btffferfiy." Among Idter portraits may be mentioned the 
"Bose Ooriler" (Grosvenor Gallery, 1879), "A Fur Jacket," 
"Lady Archibald OampbeD" (G. G. 1884), "SaraBate" (British 
Artists, 1885), " Count Bobert de Montesquiou-Fezensac " (Champ 
de Mttre, 1894). 

The first set of Yenice etchings was shown in the Fine Art 
Society's Ghillery, in t)ecembeT, 1880 ; the second was published 
M 18(8(», and was followed by the Amsterdam series and others. 
In 1884 and 1886 lilessrs. Dowdeswell showed collections of 
water-colours, pastels, and small pictures. 

Whiitler Wits elected a member of the Soeiety of British Artists 
M 1984, Add ^^6 fedrt later he becafne FrcMident, but he resigned 
id 18^6. 'the collection of his paintings at Messrs. Goupils' in 
1892 did much io attirm his position as one of the leading artists 
of ids time. 

Fi'offi 1978 onififrds WIfiStler bad pi'Odved lithographs ; in 
i899 he dj^w a nuinber of scenes in BrUtaAy and Farin, and in 
1895, at Lyme ^Tegis, where he painted " The Master Smith " and 
''The ttose of Lyme Begis." Beturning to London in 1896 he 
continued the production of lithographs, amongst them the series 
of the Thames Embankment from the Savoy Hotd. 

Whistler was elected the first President of the Iitternational 
Soeiety of Sculptors, Painters, and Gravers in 1898, a portion he 
held until his death on July 17th, 1903. The Society held 
a trery fall memorial exhibition of his works in 1905, an£l this 
ihm followed by an exhibition at the Beaut Arts in Patis. 



620 . WHISTLER. 

Whistler was an officer of tbe Legion of Hononr, a member of 
the Soci^t^ Nationale des Artistes Fran9ais, Commander of the 
Order of tbe Grown of Italy, and Chevalier of the Order of St. 
Michael ; he was an honorary member of the Royal Academies of 
Bavaria and Dresden and of St. Luke, in Rome, and D.C.L. of the 
University of Glasgow.* 

No. 1959- Old Battersea Bridge. 

The picture represents a single pier and part of two 6pans of 
the old wooden bridge at Battersea seen from the east side after 
sunset. The water, which is calm and shows only faint ripples 
near the foreground, reflects a clear ^ky, and the buildings and 
lighted lamps on the far side of the river. Figures are seen cross- 
ing the bridge, and a barge with a single figure and bearing a light 
occupies the foreground below the pier of the bridge. A rocket 
is seen rising from Cremorne Gardens on the right, and another 
rocket has just burst into stars. 

The spirit of the picture may be illustrated by the painter's own 
words in the " Ten o'clock " : — 

*' The sun blares, the wind blows from the east, tbe sky is bereft 
of cloud, and without, all is of iron. The windows of the Crystal 
Palace are seen from all points of London. The holiday-maker 
rejoices in the glorious day, and the painter turns aside to shut his 
eyes, o o o o o o 

The dignity of the snow-capped mountain is lost in distinctness, 
but the joy of the tourist is to recognise the traveller on the top. 
The desire to see^ for the sake of seeing, is, with the mass, alone 
the one to be gratified, hence the delight in detail. 

And when tne evening mist clothes the riverside with poetry, as 
with a veil, and the poor buildings lose themselves in the dim sky, 
and the tall chimneys become campanili, and the warehouses are 
palaces in the night, and the whole city bangs in the heavens, and 
fairyland is before us — then the wavf arer hastens home ; the 
working man and the cultured one, tne wise man and the one 
of pleasure, cease to understaifd, as they have ceased to see, and 
Nature, who, for once, has sung in tune, sings her exquisite song to 
the artist alone, her son and her master — her son in that he loves 
her, her master in that he knows her." 

The picture was in the Grosvenor Gallery Exhibition, 1877, and 
was one of those brought into Court during the trial. {See account 

• "• The EncyolopiBdia Britannica" and *' The Art of J. McNeUl Whistler." by 
T. B. Way and G. K. Dennis. 



WHISTLER— WILKIE. 321 

of ibis in " The Gentle Art of Making Enemies.'*) It appeared in 
the 1892 Exhibition under the painter's title <' Nocturne— Bine 
and Gold— Old Battersea Bridge." At the 1905 New Gallenr 
Exhibition it appeared as "Nocturne — Blue and Silver." Till 
1905 it was io the possession of Mr. R. H. G. Harrison. 

On oanvas, 2 ft. 2 J in. h. by 1 ft. 7f in. w. The frame is the original 
one, designed and decorated by the artiat. 

Presented by the National Art-Collections Fund in 1905. 



WZBNS (SlEQFKIED MAKBPBACB). 

No. 2141. Qirl and Lizard. 

A girl, lying on a rock, peers over the edge at a lizard, attached 
to the wooden base. 

Bronse on wooden base, 12^ in. A. by 1 ft. 8i in. w* Base 6 J in. h. 
Exhibited in the Hoyal Academy, 1907* 
Chantbey Purchase, 1907. 



(Sm David), R.A. 

B. 1785. D. 1841. 

David Wilkie was bom in the parish of Onlte, Fifeshire, 
November 18, 1785 ; his father was minister of Oults. He was 
placed in 1799 in the Tmstees' Academy, at Edinburgh, where 
in 1803 he won the ten-guinea premium for the best painting of 
*' Galisto in the Bath of Diana." He came to London in 1805, and 
entered as a student in the Boyal Academy ; soon afterwards he 
attracted general notice by his picture of the " Village Politicians,'* 
which was exhibited at the Boyal Academy in 1806. From this 
period Wilkie's fame was established, each succeeding work adding 
to hia popularity. The ^* Tillage Politicians " was followed by the 
«* Blind Fiddler," the « Gard Players," the "Rent-day," the "Jew's 
Harp," the " Cut Finger," the " Wardrobe Ransacked," the " Tillage 
Festival," and others. He was elect<¥l an Associate of the Royal 
Academy in 1809, and an Academician in 1811. These early works 

(B.A.) X 



322 WILKIE. 

«re all very carefully painted. In 1825 he proceeded to the Oontinent 
for three years, and after his return he completely changed both 
his style and class of subjects. The following are the principal 
works which he executed between 1811 and 1825 : — " Blind Man'a 
Buff," the " Letter of Introduction," " Duncan Gray," " Distraining 
for Bent," the " The Babbit on the Wall," the " Penny Wedding,'^ 
the « Whisky Still," the " Beading of the Will," and the " Chelsea 
Pensioners,"^ painted for the Duke of Wellington. Up to 1825 
Wilkie was known exclusively as a genre painter. After his con- 
tinental tour, during which he visited France, Germany, Italy, and 
Spain, he appeared almost exclusively as an historical and portrait 
painter, substituting a light effective style of handling for the care- 
fully laboured execution of his earlier works. This change he 
himself attributed to a more intimate acquaintance with the old 
masters, which he had acquired by his foreign tour. He was 
particularly struck by the works of Gorreggio, Bembrandt, and 
Velazquez, f His most celebrated picture in this second style 
is his "John Knox Preaching," exhibited in 1832, now in this 
collection. 

After the death of Sir Thomas Lawrence in 1830 Wilkie was 
appointed in his place painter ixr ordinary to His Majesty ; he was 
already Limner to the King in Scotland. This post he had obtained 
after the death o^ Sir Henry Baebum in 1823. He was knighted 
in 1836. In the autumn of 1840 he set out for a tour in the East, 
and at the close of the same year arrived at Constantinople, 
where he painted a portrait of the Sultan Abdul Medjid. From 
Constantinople Wilkie went to the Holy Land and Egypt. He 
complained of illness while at Alexandria, and on the 1st of June, 
1841, he expired on board the " Oriental " steamer, off Gibraltar ; 
hiJB body was committed on the same day to the deep.;]: 

Wilkie exhibited 100 pictures at the Boyal Academy ; a complete 
list of his works, with their dates, and the prices he received, is 
g^ven.at the end of his "Life " by Allan Cunningham. 



^ There are printa of all the above, and of many other works of Wilkie, by 
the engravers, Baimbach, Burnet, Consins, Poo, Fo:^, and others. 

t See his letters in the Life by Allan Cunningham. 

■ ; The' coffin ^as lowered Into the sea in 3d° 20* north lat. and 6° 42' west long, 
SeetTht Life of Sir David Wilkie. with his JoumaU, Tours, and Oritieal Bemarhs cfk 
Works of Art, and a Selection, from his Correspondence^ by Allan Cunningham, 
avolfl 8vo. London. 1843. 



.WILKIE. 323 

No. 231- Portrait of Thomas DanieUj B^» 

As able landscape painter and engraver, well known for his great 
Wdrk on " Oriental Scenery/' published in 1808, the joint prodnction 
of himself and his nephew, William Daniell. He died in 1840, 
aged ninety-one. Inscribed, " D. Wilkie f . 1838." 

On^oanTas, 2 ft. 6 in. h, by 2 ft. w. 

Bequeathed to- the National OtJlerj by Miss Mary Ann Fuller, 1858. 

No. 241. The Parish Beadle. 

'The beadle has arrested a party, of four vagrants, who have 
been exhibiting the feats of a bc^, a monkey, and a dog, to the 
music of a tambourine and a hurdy-gurdy. A black-eved woman, 
with the hurdy-ffurdy, is the most prominent figure of the group ; 
she appears half inclined to resist the authority of the portly 
beadle, who has seized by the arm a boy carrying the monkey ; 
<me assistant is busy opening the lock-up house, while another 
appears to be keeping off the crowd of boys disposed to follow the 
party. Inscribed, «' David Wilkie, 1823." 

On panel, 1 ft. llj in. h, by 2 ft. llj in. to. 
^graved by Geo, Greatbach, for the " Wilkie Gallery;* 
•iBequeathed to the National (Gallery by Lord Colbome in 1864. 



) No. 328. The First Ear-ring. 



iA mother is holding her child, who, with a frightened aspect, 
is undergoing the operation of having her ears bored. Inscribed 
" David WilHe f. 1835." 

On wood, 2ft. 5 in. h, by 1 ft. 11^ in. to. 

Bngraved by W. Chevalier ; and by W. Greatbach. 

fizhibited at the Ro^al Academy in 1836. 

Vernon OoUection, 1847. 

No. 330« A Woody Landscape. 

' On wood, 9 in. square. 

Painted in 1822 at Mr. Nursey's, The Grove, Little Healings Wood- 
bridge, and given to him as a souvenir of Wilkie's visit. See 
Kg. 2131. 

Engraved by J. Gousen, 

Vernon Collection, 1847. 

(B.A.) X 2 



324 WILKIE. 

No. 331« Newsmongers. 

A small group of men, women, and ohildren gathered together 
on an open place eagerly listening to a yoong woman who is 
reading the news. 

On wood, 16 in. h, by 18| in. to. 
Engrayed by W. Taylor ; and by J. Gonsen. 
Orig^inally painted for General Phipps. 
Exhibited at the Boyal Aoademy in 1821. 
Vernon Ck)Ilection, 1847. 

No. 894. The Preaching of Knox before the Lords of 
the Congregationj 10th June 1559. 

" In Dr. M'Ciie's life of this extraordinary person is described 
the event this picture is intended to represent, which took place 
daring the regencjf of Mary of Gnise, in the parish chnndi of 
St. Andrew's, in Fif eshire, where John Knox, having just arrived 
from Geneva, after an exile of thirteen years^ in defiance of a 
threat of assassination, and while an army m the field was 
watchmg the proceedings of his party, appeared in the pulpit 
and discoorsed to a numerous assembly, including many of tne 
clergy, when such was the influence of his doctrine that tho 
provost, bailies, and inhabitants harmoniously agreed to set up 
the reformed worship in the town. 

'* Close to the pulpit on the right of Elnox are Richard Ballen- 
den, his amanuensis, with Christopher Goodman, his colleague ; 
and, in black, the Maltese Knight, Sir James Sandilands, ia 
whose house at Calder the first Protestant sacrament was r^ 
ceived. Beyond the latter, in the scholar's cap and gown, is that 
accomplished student of St. Andrews, the Admirable Crichton. 
Under the pulpit is Thomas Wood, the precentor, with his hour- 
glass ; the schoolboy below is John Napier, Baron of Merchiston, 
mventor of the logarithms ; and further to the right is a chila 
which has been brought to be baptised when the discourse is 
over. 

'* On the other side of the picture, in red^ is the Lord James 
Stuart, afterwards Regent Murray ; beyond is the Earl of Glen- 
caime ; and in front, resting on his sword, is the Earl of Morton, 
behind whom is the Earl of Argyll, whose Countess, tho haJz 
sister of Queen Mary, and the lady in attendance upon her, 
make up tiie chief l^fht of the picture. Above this group is 
John Hamilton, Archbishop of St. Andrew's, supported by 
the Bishop Beacoun, of Glasgow, with Quinten Kennedy, the 
Abbot of Cross Raguel, who maintained against Knox a public 
disputation. 



WILKIE. 825 

^'In the gallery is Sir Patrick Learmonth, ProTOst of St. 
Andrew's and Laird of Dairme, and with him two of the bailies. 
The boy on their left is Andrew Melville, successor of Knox ; and 
beyond him, with other Professors of the Uniyersity of St. 
Andrews, is the learned Buchanan ; at the back of the gallerr ia 
ti crucifix, attracting the regard of Catholic penitents ; and in 
the obscurity above is an escutcheon to the memory of Cardinal 
Beaton." — Royal Academy Catalogue, 1832. Signea and dated 
David Wilkie fec« 1832. 

On wood, 4 ft i In. A. by 6 ft. 4^ in. to. 

Engraved by G. T. Doo, R.A.. 

Oommenoed for the Earl of Liverpool, and completed for the lace 
Sir Robert PeeL 

Exhibited at the Boyal Academy in 1832. 

Puxbhased with the Peel Collection in 1871. 



99 



No. 921. Sketch of '< Blind Man's Buff. 

The original design of the large picture in the collection 
of His Majesty in Buckingham Palace. Liscribed, "D. W., 
1811." 

On panel, 12 in. h, by 18 in. to. 

This sketch was painted in 1811, and was exhibited at the Royal 
Acad e my in 1812. The large picture of the same composition was 
painted for the Prince Regent, and was exhibited at the Academy in 
1813. It is engraved by A. Raimbach. The sketch became the property 
of the Earl of Mulgra ve, from whose collection, in 1 832, it passed into the 
possession of Mr. 0. L. Bredel. 

Bequeathed to the National Gkillery by Miss Harriet Bredel, in 1876. 

No. 1187. A Sketch of Rustic Figures. 

Apparently a study for a nroup in the picture of the *' Village 
Festival," No. 122 in the Catalogue of the National Gallery, 
Trafalgar Square. 

Underneath is a scrap of paper on which is written :— 

Sent by D. Wilkie, 15 Aug. 1811. 

Exeouted in pen and ink, 8| in. K, by 4} in. w. 
Bequeathed by Mrs. Elizabeth Yaughan in 1886. 

No. 1727. Portrait of Mrs. Elizabeth Toung, in Eastern 
Costume. 

A small full length, seated ; the costume is a light silk dress 
with long sleeves lined with rose c3lonr, ablack jacket embroidered 



«26 . WILKTE. 

with gold and a turban. This work was execatod at Jerosalem 
two months and focur days before the death of the artii^t, and 
is inscribed : — 

David Wilkie f. Jerusalem, March 27th, 1841. 

On light brown paper, lead pencil and water oolonr touched with 
white. 1 ft. 7i in. h. by 1 ft. 1\ in. to. 

Bequeathed by Mrs. Elizabeth Toung, in 1900. 



No. 1739> A Cottage Fireside at Puckaster^ 

Sir Willoughby Gordon is sitting in front of the fire cooking 
something upon a griddle ; a lady is assisting him. Signed, 

D. Wilkie, Niton, Oct. 14, 1822. 

Black chalk and lead pencil on grey paper with water-colour wash^. 
10 in. h, by lOf in. to. 

Presented by Miss Gordon. 



No. 1740. Portrait of Miss Julia E. Gordon. 

Miss Gordon wears a cloak and a red Turk's cap ; she is seated 
oh a terrace, and turns over the leaves of a large book. Signed, 

D. Wilkie Sept. 30th 1833 

Label on the back: *^ Julia Emily Gordon, sketched at* The 
Orchard* by Sir David Wilkie, R.A., Sept., 1833, and given to 
Lady Gordon. Given to J. E. G. by her mother, January, 1852. 



»» 



Lead pencil and water-colour, 1 ft. A. by 9 in. to. 
Bequeathed by Miss Julia E. Gordon. 

No. 1741. Six Sketches in one frame. 

Label on back : '^ 1832. Six sketches drawn by Sir David 
Wilkie, R.A., when visiting at • The Orchard,* Isle of Wight, and 
given by him (and Lady Gordon) to J. E. Gordon, 1. Idea of a 
Rembrandt at her uncle*s. Lord Gwydr's, sketched for Lady Gordon. 
2.. Archers. 3. J. E. G. in an African Fez (cap) with bow and 
arrows. 4. Fancy. 5. Fancy. J. E. G.*' 

Executed in pen, pencil, and water-colour washes. 

Bequeathed by Miss Julia E. Gordon. ' 



WILKIE. 327 

No. 194k2. Sketch for a picture of WUliam IV and 
- Queen Adelaide. 

The King in a robe of State, stands with the sword in his 
right hand on the step of a throne nnder a red canopy. The 
Queen stands beside him on the right in a white coart dress 
with a high head dress of white ostrich feathers. Marble columns 
against the sky form the background. Label on the back : " The 
original sketch for the painting of William IT. and Queen Adelaide, 
approved by their Royal Highnesses." Shown at an exhibition of 
the Royal Dablin Society, 1861. 

Lead pencil and water-colour wash, 1 ft. 2^ in. K by 9 in. w, with 
arched top. 

Presented by Mr. J. H. P. Bright. 



No. 2131- A Ptc-nic. 

A park scene, with figures grouped to right on the bank of a 
river which shows to left of foreground. This little picture 
appears to have been a holiday work of Wilkie's, painted at the 
same time as a small panel in the Yernon Collection O' A Woody 
Landscape.'' No. 330). It represents the friends with whom he 
was staying at the time, Mr. and Mrs. Nursey, of Grove, Little 
Bealings, Woodbridge, and their children, on an excursion to the 
grounds of Sir Philip Brooke on the Orwell. A label on the back 
calls it *' A sketch for the picture of the Nursey family," but no 
larger picture of the subject appears to be known. This little 
picture had escaped the notice of writers on Wilkie, and the 
connection of the Yernon picture with it was revealed by a faint 
pencil inscription on the back of the former to the eSect that it 
was given to Mr. Nursey as a souvenir of the visit. The date was 
July 1822. (See a letter in Cunningham's *• Life," Yol. IL, 
p. 81.) Wilkie's attempts in landscape pure and simple were few. 
He speaks of his ** Sheepwashing " (1816), as the first, and he 
exhibited no other. 

On panel, 17 in. ^. by 10 in. to. 

Originally purchased by Sir Charles Robinson from the son of Mr. 
Nursey. 

Presented by Sir J. C. Robinson, C.B., through the National Art- 
Collections Fund. 1907. 



328 WILLCOOK— WILLIAMS. 

WZXiIiOOOK (Gboboe Barbell). 
B. 1811 D. 1852. 

George Barrell Willcock was bom in 1811, at Exeter, where his 
father, Charles Willcock, carried on the business of a coach-bnilder. 

At Bristol, George had a brother established in the same 
trade, who for some years employed him to paint armorial 
bearings and heraldic deyioes on carriages constructed for his 
customers. This humble branch of pictorial art did not, however, 
content young Willcock, who in 1842 turned his attention to 
landscape painting, and by the advice of his friend, James ' 
Stark, he studied constancy from nature, generally completing 
his work on the spot. 

The scrupulous observance of this practice was unfortunately 
destined to shorten his life, for he contracted a severe cold 
whilst painting in the open air near Frome, and never recovered 
from an illness which ensued. 

Between the years 1846 and 1852 Willcock was a constant 
exhibitor at the Boyal Academy. He died in the spring of the 
latter year, aged 41. 

No. 1389- Chelston Lane^ Torquay. 

The subject is a group of thatched cottages surrounded by lofty 
oak and beech trees, which cast chequered shadows on their roo& 
and walls, as well as on the roadway beneath. On the left a farm 
labourer, sitting on a stile, converses with a peasant girl carrying 
a baby. In the foreground the road is crossed by a stream, in 
which two cows are lingering. In the distance large fleecy clouds 
rise into a summer sky. 

On canvas, 1 ft. \\\ in. A. by 1 ft. 7^ in. w. 

Purchased in 1893, from Messrs. H. Graves & Co., out of a fund 
bequeathed by the late Mr. Francis Clarke. 



WX&IiIAKS. See BJlTNBS WZXiXiUlUKS (John). 



WOODS— WOODWARD— WYLLIE. 32* 

WOODS (Hbnbt), A.A. 
No. 1831. OupicTB Spell. 

A ^oong fisheriDan is engaged in conyenation with a vonng gir> 
wlio ig seated spinning at the foot of a statue of Cupid in an old 
garden on the hanks of the Lagoon at Yenice. In the distance 
are seen the buildings of the city. Signed and dated, Henr^ 
Woods Yenioe 1885 

On canyas, 3 ft. 10 in. ik. by 2 ft. 6| iii. to. 
Bxhibited at the Royal Academy in 1886. 
TMe Gift, 1894. 



(Thomas). 
B. 1801. D. 1862. 

Thomas Woodward was bom in 1801 at Pershore, Worcester- 
shire. He became a pnpil of Abraham Cooper, B. A., and devotee^ 
himself chiefly to the painting of animals. At an early age he* 
began to contribute pictures to the British Institution and after- 
wards to the Boyal Academy, where he was a constant exhibitor.. 
He died at Worcester in 1852. 

No. 1379. The Ratcatcher. 

On the steps of a cottage door, a man clad in a blue tailcoat, red 
waistcoat and Telyeteen breeches, sits over his humble meal, which 
he is about to share with two dogs, a rough and a smooth-hairedi 
terrier, at his feet. Behind him a cat steals through the half • 
opened door towards a rat-trap which lies by his side. In the- 
distance is a rural landscape. 

On panel, 1 ft. 4| in. h, by 1 ft. 84 in. w. 

Bequeathed in 1892 by Mr. Edward Archer, of Great Malvern. 



(Ghablbs William). 
No. U04. Digging for Bait. 

Low tide. Toung fishwives and fishermen are digging on the 
wet beach for sand-worms ; beyond them are the dunes, golden in 
the evening light and reflected m the pools left by the sea. 



330 WYLLIE— YEAMES. . 

Painted in the little village of Ambletense, the spot where 
■fames n. landed on his flight into France. Signed and da' 
0. W. WyUie, 1877. 

On oftnyas, 2 ft i^ in. h, by 4 ft. 1 in. to. 
Exhibited at the Royal Academy in 1877. 
Chantrey Purchase, 1877. 




(William Lionel), a.A. 

No. 1S80. Toil^ Olitter^ Qrimey and Wealth on a 
Flowing Tide. 

A view of the scene on the Thames below London Bridge. A 
steam tng towing a string of barges forms the principal feature of 
a busy panorama. Beyond are seen numerous steamers aiid 
sailing ships. The Isle of Does and the domes of Greenwich 
Hospital form the distance. Signed and dated, W. L. Wyllie, 
1883. 

On canvas, 3 ft. 8f in. A. by 5 ft. 5 in. w. 

Etched by the artist himself. 

Exhibited at the Royal Academy in 1883. 

Chantrey Purchase, 1883. 

No. 1C97. The Battle of the Nile. 

The picture represents the closing scene of the battle, lit up by 
the moon and the burning ships. The spectator is supposed to be 
looking down the line of ships to the south-east. On the left the 
French ship "G-uerrier" is seen a complete wreck. Beyond is 
Nelson's flag ship, the " Vanguard," engaged with the '^ Spartiate " 
and " Aquilon,'' while on the right the fight is still raging round 
the '* Orient,'' three-decker, which is a mass of flames. In the 
distance the *' GuUoden " is seen ashore on a reef. In the near 
foreground are the boats of the "Zealous" rowing to take 
possession of a prize. 

On canvas, 4 ft. 11^ in. h, by 8 ft. 11 ^ in. w, 
Chantrey Purchase, 1899. 



(William Fi^edebick), &.A. 
No. 1609> Amy Rohsart. 

** In less than two minntes, Foster, who remained behind, heard the trisad of 
a horse in the courtyard, and then a whistle similar to that which was the 



YEAMES. 331 

lEarl's usual siffnal ; the instant after, the door of the Oonntess's ohamher 
opened, and in the same moment the trap-door gave way. 

'* There was a rushing sound— a heavy fall— a faint groan— and all was over. 

** * Look down into the vault, what seest thou f * 

** * I see only a heap of white clothes like a snowdrift.' " 

— " KenilwortK by Sir Walter Scott. 

Bir Bobert Dndlev was married to Amy, only daughter of Sir 
John Bobsart, in June, 1550, at the Palace of Sheen. Kinjg; 
Edward YI. attended the wedding, and made a note of it in his 
diary. On September 8th, 1560, when living at Gumnor, an easy 
walk from Oirford, the lady sent her whole household to Abingdon 
Fair. When the servants came back she was found dead at the 
foot of the staircase. The verdict of the " Coroner's Court " was 
^'Mischance.'' 

She lies " like a snowdrift " at the foot of the stairs, her husband's 
miniature around her neck ; his coat-of -arms (a bear) is carved in 
the wooden bannisters. One of the men above, in the darkness, 
is Anthony Foster, who seems to know more than he should ; the 
other, a young servant, is horrified. 

Oanvas, 9 ft. Ij^ in. h, by 6ft. to. . 

Exhibited At the Royal Academy of Arts in 1877. 

Ohantrey Purchase, 1877« 



332 



INDEX 



▲BBAHOBD ACCOBDING TO THB NUMBBBB OF THI PJOTUBBEk. 



^Wilkie, 



Sir David 



No. 

281 -^ 

841 

828 

880 

881 

852 OoOinSj wuiiam 

868) 

t Newton. OUhert 8, 

856) 

859 ' ^' 

874 Bonington, ^«>*«^<* -P. 

878 Oood,^.^. 

879 Koll&rj wniiam J. 

898) 

: JJ } Mulready, wuiiam 

897 1 

898 VBastlake, Sir CharleiZ. 

899) 



Stanfleld, CUtrksait^ 



No. 

400) 

, Q- } Roberts, -a»«^ 

402u ,. ^ , I, 

. gg } Leslie, Charles B., 

404 

405 

406 

407. 

410-^ 

411 

412 

418 

414 

416 Pickersgill, Senry w. 

422) 

« [ Maelise. Daniel 

424 EtLli^ Solomon A. 

426) 



' Landseer^ Sir Edtoin- 



333 



So. 

429 Creswick, i%vmm 
430 1 

431 I' Ward, Edward M. 

482) 

437 Danby, -VVvMOM 

438 

489 

440 Lane, Theodore 
441 1 
442}'Lanoe,^M»V« 



I Linnell, Johm 



448 






' John F. 



444 Bgg, Auguttui L. 

446 Horsley, •'<>^ 0. 
447) 

^g } Cooke, Eduwrd w, 

460) 

.- } aoodall, JV«*»»*>» 

452 
807 
614 
515 
617 
529 
631 
S32 
645 
649 
550 
652 
553 



•Turner, •'iJi'i IT. 



No. 
6641 
666 
661 

662J 
563 
600 
607 

608 

609 
614 

616 
616 
620 

621 

688 

769 

810 

816 

894 

898 

917) 

918 > 

919) 

921 
1,029 

1,088 
1,040 
1,043 

1,091 
1,112 

1,142 



Tnmer, J. m. w. 

Seddon, Thoma* 

Dyekmans, •'<>*« L, 
Landseer, Sir Edwi^ 

Btty, wmiam 
Prith, wuiioM p. 

Ward, EduMrd M. 

Lee and Gooper 
Bonheor, Sota 

Ward, Jamet 

Armitage, Mward 

Fonasin, Charlet 
Clays, Fi«rre J. 
WiXkiJd, Sir David 
Xastlake, ^r Ckarle* L, 

Ck)od,^& 

Wilkie, Sir David 
Linton, WUUam 

Holready, wmiam 
Miaier, WiUiam j. 

Ward, Jame* 

Poole, jRurf -f. 
Linnell, •'«*» 

Lawson, CeoH 



334 



No. 
1,169 
1,170 
1,181 
1,182 
1,184 
1,187 



I Soheffer, ^ry 



' Constable, John 



Mulready, wmum 

Leslie, Charles B» 
Lance, George 
WlUde, Sir David 

1,204 stark, ./iwn^* 

1,205 "BridiAl^ ^ederioh Lee 

1.209 Walker, ^^<i«^* 

1.210 Rossetti, ^«w^« C, D. 

1.225 ^%\i%\jeir^ Thomas 

1.226 Landseer, ^t- ^''ttrift 
. 1,285 

1,286 

1,237 
1,244 

1,245 

1,258 Holland, ^«w<w 

1,264 Unknown. 

1,276 Constable, ^<>^» 

1,279 Rossetti, 6^«&^« <^. -0. 

1,285 Vernet, ^. •^. ^. 

1,822 ^QOii, William Bell 

1,379 Woodward, ^%<w«<M 

1,386 ^gli^ Augustut L. 

1.388 Mason, George m 

1.389 WlllCOOk, Georf^e ^. 
1,391 ^MLet^ ^ederioh 

1 392 Bell, J^hn^^haniah 



\ Dyoe, 



William 



No. 

1.394 "RKmn^ F(frd Madom 

1.395 I 

1 898 ) ^**^*^®» ^ ^^*^'*' '^^ 

1,406 Lewis, ./i'Aji #. 

M07 
1,426 

1,428 Lancaster, ^. ^. 
1,448 Bonvin, ^.A 

1,474 * ' 

1,477 Inchbold, ./: TT, 

1.492 Richmond, Oeorge 

1.493 Costa, Giovanni 

1,494 Millais, ^^ ^. -8?. 

1.498 Kniglity '^^ ^eseott 

1.499 miton, WUUam 
1,600 . Martineaui i^. i^. 

1,501 Legros, Alphonse 

1,502 Macallum, J5r<miZftm 

1 KAQ I Landseer, ^^ ^.i «wl 
li503| Millais, ^r j: J^. 

1.504 Crome, •^<»*« 

1.505 Hoppner, '^ohn 
l,506r ' ' 

1,507 

1,508 [Millais, ^r J^ohn n. 

1,509 

1,510-' 

1,511 Leighton, ^'<w^ 



333 



Na 

1.512 \ 

1.513 > Hook, J'.C 
1,514 ) 

1,6151 

1.516 L. . 

1.517 f ' 
1,518. 

1,519 I 

1,620 lorchardson, Sir W. Q. 

1,521 ) 

1,622 FUdes, «>■ x«i« 

1.523 Alma-Tadema, '^ X. 

1.524 Qraham, -?«<««' 
1,526 \ 

1.526 VFaed, ThomM 

1.527 I 

1.528 Davis, B. w. B. 
1,629 
1,630 

1,631 WoodB, Bmvry 

1,632 
1,533 
1,534 PhilUp, .ToAm 

1,535. ■■ -^ ■ 

1,636^=""'''"''* 

1,637 > 

1,638 1 

1,539 Bovghton, ^' B. 

1,640 Leader, B. w. 



\ Gow, A c. 



\ Landseer, *»»• Mwim 



Niool, Erikine 



No. 

1,541 j 

1,642 yWaterhoufle, J. tt. 
1,643 ) 

1,644 Forbes, Stemkoge A. 

1,646 Pyne,-^-^. 

1,546 1 

1 647 f ^^^^^^^ '^'^ 

1,548 Halswelle, ^M^ 
1,649 Hoore, AiteH 

1,660 Qooiwin^ Mbert 
1,652 f^*"*''** 

1 563 I ^^*^6r, I^y iMizaheth 

1,664 Haynes-Waiiams, ./. 
1,666 ) „ 

1 556 ) °**^®'» ^* Dendy 

1.667 ReidyJohnM. 

1.668 Douglas, JSdwm. 

1.669 Garter, i^.^. 

1.660 Eennington, ^. J9. 

1.661 Watts, O. w. 

1.662 Ooodall, ^«<Zm^TA 

1,668 ) , 

1 564 » ''''^*'^*^*'> '^^ "^^^^ -^« 

1,666 Miiller, w^w. jr 

1.666 Riviere, BrUon 

1.667 {Sfc«ley.4"fy(^-''% 



336 



No. 




No. 




1,568 


Hason, ^. ^. 


1,596 


Waterlow, ^Bmett 


1,569 


Swan, Johm M. 


1,597 


Macbeth, ^ ^* 


1,670 


Prinsep, ^«^. ^. 


1,598 


Eookj'^.C. 


1,571 


MacWhirter, Jo\% 


1,599 


Cole, Vieat 


1,572 


WaterhoTLse, J^ ^• 


1,600 


Eeid, John B. 


1,573 


Calderon, i*. -H. 


1,601 


Orchardson, Sir w. q. 


1,574 


Leighton, ^^^ 


1,602 


1 Herkomer, Sir Buher 

\ rxm. 


rf ^IM b^ 


f Herkomer, Sir H%bert 




1,675 


1,603 


Hayes, ^Bdwin 


1,576 


Hacker, AHhwr 


1,604 


Moore, Senry 


1,577 


Riviere, BrUon 


1,605 


La Thangue, ^* S. 


1,678 


Merritt, Anna Lea 


1,606 


Johnson, c, E. 


1,579 


Hunter, ^^*« 


1,607 


North, J. W. 


1,580 


Wyllie, w. L. 


1,608 


Davis, J5r. w. B. 


1,581 


Hnnt, W(^lteT 


1,609 


Teames, w. F. 


1,582 


Pettie, John 


1,610 


Clark, Joeeph 


1,583 


Stone, Jfor<nw 


1,611 


Millet, JS'. J). 


1,684 


MillaiB, Svr J. JS. 


1,612 


Clausen, George 


1,585 


Watts, ^. ^. 


1,613 


Tuke, -K A 


1,586 


Poynter, Sir a. J. 


1,614 


Murray, i>««iil 


1,587 


Dickeee, -^»«* 


1,615 


Sargent, John 


9 

1,688 


flow, ^. ^• 


1,616 


Collier, -H«». ./^ 


1,589 


Parsons, Alfred 


1,617 


Brett, John 


1,590 


Gotch, ^. ^. 


1,618 


Tuke, ^. A 


1,591 


Chantrey, Sir F. 


1,619 


Aumonier, •^^mm 


1,592 


Corbet, J^. -»• 


1,620 


Lucas, a^- 'S^yimmr 


1,593 


Clark, Jo$eph 


1,621 


Logsdail, Wm. 


1,594 


Wyllie, ^. ^. 


1,622 


Knight, Joii^h 


1,595 


SmaU, Wm. 


1,623 


Stokes, Adrian 



337 



No. 

1.624 BMke,T.M. 

1.625 Strndwick, ^. i^. 

1.626 Farquharson, Joseph 

1.627 Bramley, ^<w»* 

1.628 Parton, -Kw** 

1.629 Eilionj wuiiam 

1,6301 

1,681 

1,632 

1,633 

1,634 

1,635 

1,636 

1,637 

1,638 . 

1,639 i^*"«^^-^- 

1,640 

1,641 

1,642 

1,643 

1,644 

1,645 

1,646 

lj647J 

1.648 Parquharson, ^amd 

1.649 Eemp-Welcli, X. ^. 

1.650 Hemy, -^'ip**^ 

1.655 Knight,^.-?. 

1.656 HcLachlan, ^. ^. 

(B.A.) 



No. 

1,657 miMs, Sir J. js. 

1.672 Peacock, Baiph 

1.673 King, Yeend 

1.677 MacCallum, Andrew 

1.678 TisheTy S. Melton 

1.679 DlB.feTj SerbeH J. 

1,B84 Webb, ^«ww* 

1,685 WalliB, Senry 

1.686 Fantin-Latour, ^. ^. 

1.687 Watts, o. F. 

1.688 LewiB.JokMF, 
1,690 Edwards, -2W«»i« 

1,691 MmB.iBy Sir John M 

'^ \ Watts, fif. F. 

1,693 > ^ **'*'**» 

1.697 Wyllie,.>r.x. 

1.698 Hunter, Tomg 

1.702 Eossetti, fi^^Jridi C. Z). 

1.703 Hunt,^.Tr. 

1.704 Gregory, ^. .^. 

1,705 Dixon, ^arry 

1,706 Hopwood, ^. iSf. 

1,707 Cockram, 6i^eorge 

1,708 Butler, ii/<^^«^ ^. 

1.709 SmjthQy I'ionsl 

1.710 Rivers, Leopold 

1.711 Nisbet,-^.^. 

1.712 Osborne, Waiter 

Y 



338 



No. 

1,713 Wade, Thomoi 
1714) 

- * - - J MaCSlIum, SamiUon 

1.718 Glendening,^(/'r«i,.^if« 

1.719 Bonington, iz. ^. * 

1.720 Fielding, X V. ^. 

1.721 Cattermole, Oeorpe 

1.722 Bennett, TFi2^i«« 

1.723 Donaldson, A ^. 

1.724 MacCallnm, Andrew 
1,726 Oulich,^oAnP. 

1.726 Maundrell, Charles 

1.727 Wilkie, ^r David 

1.728 Mttller, TT. j: 

1.729 LewiB^JohnF. 
1,730 
1,731 
1,732 
1,733 
1,734 1 

1,735 > Cox, David 
1,736 ) 
1,737 
1,738 
1,739 ) 

1,740 [wilkie,'a^i>«i^i^ 
1,741 ) 



Oattermole, 6^earge 



I Varley, John 



No. 

1,742 
1,743 

1,744 

1,746 

1,746 

1,747 
1,748 
1,749 
1,750 
1,751 
1,752 
1,753 
1,754 
1,755 
1,756 
1,757 
1,758 
1,759 
1,760 
1,761 
1,762 
1,763 
1,764 
1,765 
1,766 
1,767 
1,768 
1,769 
1,770 



Smith, S. R, J. 
Mulready, wniiam 
Gibson, John 

Brock, Tho7iia» 

Marshall, W, a 
Fehr, B, a 

Bates, Harry 

Thornycroft, w, H, 
Leighton, Lord 
Ford, ^. Onslow 
Leighton, Lord 

John, ^. Ooeeombe 

Pegram, ^. A, 
Drury, Alfred 
Ford,-^. Onslow 

Pomeroy, -^. w. 
Stark, RobeH 
Leighton, Lord 
Pomeroy, ^. w. 

Banks, Thomas 
Joseph, Samuel 
Brock, Thomas 
Colton, William R» 
Bates, Harrjf 

Watts, fif. F. 

Weekes, Semry 

Foley, J' b: 



339 



No, 

L771 Burne-Jones, Sir x c. 

1.772 PetLCOckf jRaiph 

1.773 Somenoalest Thomoi 

1.774 DaviB,^. w:^. 
1,776 Btffvem^ Alfred 

1.780 Oooke, X W. 

1.781 Frith, TT. p. ^ 

1.782 Davis, ff. W. B. 

1.783 Bates, JTarry 

1.784 Brock, Thomaa 

1.786 Creswick, Thonuu 

1,786 Calame, AUxandre 

1.787 Landseer, i9ir j^. 

1.788 Lee and Landseer. 

1,789 Fraser, Alexander 

1,790 Leslie, o. jr. 

1,791 Hilton, WUliam 

1,792 1 

1,793 [Leslie, o. B. 

1,794) 

1,796 Btty, WUliam 

1.796 Leslie, ^. B. 

1.797 Mulready, TTiZ/MMw 
1,798 
1,799 

1.800 Cooper, ^. A 

1.801 Leslie, o, B. 

1.802 Cooke, jB> W. 

(B.A.) 



} Leslie, c. B. 



No. 

1.803 I 

1.804 [Leslie, C B. 
1,806' 

1,806 Leighton, Xori 

1,807) 

J gQg [ Millais, ^r J. JS. 

1,809 Holland, •/^m<» 

1.838 Adams, ff. w. 

1.839 TAiikaeQ^ Frank 
1,846 Stevens, ^z/rtf^ 
1,882 Sandby, ^%oOTtf# 

1,853 



Sandby, ^aui 



1,854 
1,855 
1,856 

1,857 1 

1,867 l*^™''-"-^- '^• 

1,894 Watts, 6^.^. 

1,898 Brown, Arnsshy 

1.899 Corbet, -a/. JK. 

1.900 Goodwin, ^^J^ 

1.901 Shannon,./^.*/; 

1.902 Biett^ ^ohn 
1,904 Allen, J. w. 
1,906 Lanteri, Prof. 
1,907 
1,908 

1.909 Delaroche, Paul 

1.910 Collins, W. 

Y 2 



} Philip, J. 



340 



No. 
1,911 Vacher, Charles 

1.912 Collins, W. 

1.913 Watts, G. F. 

1.919 Wells, B. T. 

1.920 Watts, O. I. 

1.921 Calthrop, C 

1.922 ^^ 
1,923/^*®''®'''' '^• 

1.926 Murray, n. 

1.927 Stokes, A, 

1.928 Oolton, IF. R, 

1.929 Armstead, -ET. i/. 
1,931 1 

1,934^ 

1,936 Bough, S. 
1,940 Leslie, 6^. i>. 
1,942 Wilkie, i^ir i). 

1.945 Pegram, H. A, 

1.946 Hemy, iVa^i^r 

1,947 yf2i,rii\Q, Arthur 

1.948 Poynter, iSi^ ^. 

1.949 Gilbert, ^^A^^ 
1,960 Chantrey, ^ir i^. 

1,954 Prampton, Oeorge 

1955 Carter, J2tt^/^ 
1,956 Brough, i2<^*<w^ 

^'^^"^ \ Stevens, ^^A^^ 
1,958 ^ ' 



No. 

1,959 Whistler, .7. itf(?iv: 

1,960 l^^JJi&y^ JBdgar 

1.961 Cowper, -P. w. 

1.962 Aumonier, •/a/iM# 

1.963 Furse, C. w, 

1.964 Speed, ^aro^^ 

1.965 Alexander, Edwin 

1,966 ^hambers, George 

1.967 Hurlstone, ^. K 

1.968 Cooke, ^. tt. 

1,969 Browne, Henriette 

1,970 

1,971 

1,972 \ Hunt, tfiZZmw 

1,973 

1,974- 

1.975 Roberts, ^»t?ii 

1.976 Cooper, ^. A 

1.977 Poster, ^.^. 

1.978 IPioutj Samua 

1,979 TB,Y\QTy Frederick 

1,980 I „ 

1 981 J '^^'^®'' •^- ^- ^• 

1,983 Watts, O. F. 

1,984 

1,985 

^'^^^i Turner, J^iJf.TT. 
1,987 ' 

1,988 

1,989-^ 



341 



■Turner, J. m. w. 



1,990' 

1,991 

1,992 

1,993 

1,994 

1,995 

1,996 

1,997 

1,998 

1,999 

2,000 

2,001 

2,002 J 

2,003 
2,004 
2,005 
2,006 
2,007 
2,008 
2,009 
2,010 
2,011 j- Stevens, •4?/r«<J 

2,012 
2,013 
2,014 
2,015 
2,016 
2,017 
2,018 
2,019. 



-Stevens, ^frei 



No. 

2,0201 

2,021 

2,022 

2,023 

2,024 

2,025 

2,026 

2,027 

2,028 

2,029 

2,030 

2,031 

2,032 
2,033 
2,034 
2,035 
2,036 
2,037 
2,038 
2,039 
2,040 
2,041 
2,042 

2,043 
2,044 
2,045 
2,046 
2,047 
2,048 
2,049 

2,050 

2,051 

2,052- 

2.053 Sargent, •^^■ 

2.054 Armstead, i7. ^- 



342 



No. 

2.059 Purse, c. w. 

2.060 Linnell, John 

2.061 Thomas, •^'>%n 
2,063 Brown, ^. JUadox 

2,0641 

2,065 I 

2,066} Turner, ./^iK »'• 

2,067 I 

2,068j 

2.070 Leslie, ^. i). 

2.071 Craig, i rani 

2.072 Farquharson, David. 

2,073 Bell, fi. Anning. 

2.074 Brook, nnmat 

2.075 ) 

?- Weekes, Henry 

2.076 I 

2.079 Strang, Wm. 

2.080 Walker, ^(d. 
2,108 Potter, -K //. 
2,109 

2,110 
2,111 
2,112 
2,113 
2,114 
2,115 
2,116 Bothenstein, w. 

2,117 LegTOS, Alphonte 

2,119 Charles, Jamet 

2,120 Hunt, T^. -BoZman 

2,121 Stevens, ^;/r«<{ 



■Brabazon, H. b. 



No, 

2,122 "I 

2,123 

2,124 

2,125 

2,126 

2,131 

2,132 

2,137 

2,138 

2,139 

2,140 

2,141 

2,142 

2,164 

2,165 

2,166 

2,167 

2,168 

2,169 

2,170 

2,171 

2,172 

2,173 

2,174 

2,175 

2,176 

2,177 

2,178 

2,179 

2,180 

2,181 

2,182 

2,183 

2,184 

2,186. 



' Charles, Jamet 



Wilkie, Sir D. 
Stevens, a. 
Taylor, L. C 
Friedenson, A. 
Simmonds, W- &. 
Hackennal, B. 
Wiens, 8. M. 
Ward, J. 
Stark, J. 



\ Stevens, a. 



343 



No. 

2,186 

2,187 

2,188 

2,189 

2,190 

2,191 

2,192 

2,193 

2,194 

2,195 

2,196 



c 



Stevem, A, 



No. 

2,197 I « 

2;i98 ^ ^^'^' "■• 

2,199 
2,200 
2,201 
2,202 
2,203 

2.213 J ^*^^*"*' ''• 

2.214 Potter, i*". ^. 
2,216 Kerr, C 



► Lewis, ^.-f. 



341 



List of Wobks pitbchased fob, pbbsektbd Aim bequbathbd to, 
THB National Gallbbt of Bbitish Abt. 

PZOTVaSS PVBOBASBD. 



No. 



Subject. 



Artist's Name. 



When 
Pnrohaaed. 



688 

894 
1038 
lOiO 
1043 
1204 
1209 
1210 
1386 
1388 
1389 
1406 
1407 
1428 
1688 

1775 
1922 
1923 
1957 

1958 

1966 

1967 
2003 

2004 
2005 
2006 
2007 
2008 

2009 

2010 
2011 



Landscape with Aldemey Bull, ) 

Oow, and Calf j 

John Knox Preaching 

Village Snow Scene ... 

River and Rocks 

Gordale Soar, Yorkshire 

The Valley of the Tare 

TheVagiimtB .- 

Eoce Ancilla Domini 

Beatrix Benighting Esmond 

The Cast Shoe 

Chilston Lane, Torquay 

Edfon, Upper Egypt 

Pegwell Bay, Kent 

A View of Southampton 

The Courtyard of the Coptic Patri- ) 

arch's House in Cairo ... f 

Mrs. CoUmann 

uUQitn ... ... ... ... ... 

King Alfred and his Mother 

The Angel announcing the birth of ) 

our Lord to the Shepherds ) 

Study of a nude female figure for ! 

a ceiling ... ) 

Dutch East Indiamen Weighing i 

Anchor ... ... ... ) 

An Incident from Gil Bias 

A Study of a Nude Female Figure ) 

sea u6ci ... ... ..• I 

Centaur and Triton 

Studies for the " Isaiah" Cartoon... 
Study for an Angel in the ** Isaiah " 

Studies for *' Isaiah " 

A Study for the " Isaiah" and for } 

a Battle of Lapithad ... j 

Studies for a Child and Woman ( 

seai/eci ... ... ... i 

A Study for an Expulsion 

Studies for a Military Uniform 



James Ward, R.A. 

Sir D. Wilkie ... 
W. Mulready ... 
W. J.MtlUer ... 
James Ward, R.A. 
J. Stark... ... 

P. Walker 
G. C. D. Rossetti 
A. L. Egg 
G. H. Mason ... 
G. B. Willcock 
John F. Lewis... 
William Dyce ... 
R. H. Lancaster 

John F. Lewis... 

Alfred Stevens... 

>» 

*} 

George Chambers 
F. Y. Hurlstone 
Alfred Stevens 

» 

»> 

ji 



1862 

1871 
1878 



1886 
1893 
1894 

1900 
1903 
1905 



345 



Piotnres ^vaohased—eontintied. 



No. 



Subject. 



2012 Studies of Angels and a Stairway... 

2013 ^Stndies of a Man Leaning on His ) 

Elbow, and for Stooping Figures | 

2014 Study of a Woman Kneeling 

2016 Study of a Seated Woman 

2016 Two Studies of Struggling Figures 

2017 Studies of Struggling Figures, and ) 

a Man Hammering at an Anvil j 

2019 Three Studies of Figures and a ) 

Woman Striking a Tambourine f 

2019 Studies of a Child's Expressions ... 

2020 Studies for the Figure of Valour {^ 

on the Wellington Monument \ 

2021 Studies of Drapery 

2022 Studies of Reclining Figures 

2023 Studies of Struggling Figures 

2024 Study for a Figure Holding a Tablet 
2026 Study for Parmigiano Painting ... 

2026 Study of a Man Protecting a Woman 

2027 Study of Drapery for a Cartoon ... 

2028 A Portrait of a Clergyman 

2029 Studies for the Angel in the Lu- | 

nette of ** The Angel Announo- I 
ing the Birth of Our Lord to the | 

Shepherds "... j 

20^0 Studies for the Lunette of " The i 
Angel Announcing the Birth of V 
Our Lord to the Shepherds '* ) 

2031 A Study for a Flying Figure 

2032 Designs for a Sea Nymph and| 

Temperance / 

2033 Studies of Mermaids and Tritons 

for the Pavement in St. Gleorge's 
Hall, Liverpool 

2034 Head for Wood Carving, a Vase, j 

and Desig^is for Tiles ... i 

2036 Pluto and Proserpine, a Design for \ 

a Fire Back j 

2036 Britomart, Four Flying Figures [ 

and a Frame 

2037 Two portions of the Design for the 

Decoration of the Dome of St. 
1 Paul's Cathedral 



( 



ArtiAt* s Name. 



Wben 
Purchased. 



Alfred Stevens 



1906 



» 

M 

»J 

»> 

t) 

«» 

•f 

i) 
»» 

M 

»» 
» 

» 



>» 
ii 

»> 

»> 

n 
a 

»» 



346 



PiotureB ^JixohaaeA^cantimisd. 



No. 



Subject 



2038 Strada della Forbuna, Pompeii, and 

a Single Peony 

2039 A Design for the End of a Boom 

including a Bnst of Raphael and 
his Fresco ** Jurisprudence " 

2040 A Design for a Two-Handled Ma- 

jolica Vase 

2041 A Design for a Fountain 

2042 A Design for the Decoration of the 

Ceiling and Three Walls of a 

2043 A Detail of No*2042,'with a Figure 

of Astronomy 

2044 A Detail of No. 2042, with a Figure 

of Prudence, an Angel with a 
Trumpet, and a Boy with a harp 

2045 A Design for Decoration of a Boom 

with a Frieze 

2046 A Design for the Wall of a Boom 

with a Frieze 

2047 A Design in Perspective for the 

Decoration of a Vaulted Corridor 

2048 Mutability. A Queen Begging at 

the Door of a Temple 

2049 A Design for Coving 

2050 Two Figures Holding Festoons of 

jL/rapery ••• ••• ••• 

2051 A Design for the Angel Announc- 

ing the Birth of Our Lord to the 
Shepherds ... ... 

2052 A Design for the Decoration of a 

Theatre 

2059 Diana of the Uplands 

2063 Chaucerat King Edward's Court .. 

2108 The Music Lesson 

2142 aordale Scar. Sketch. 

2165 ) 

to ' V Studies. 

2197 ) 

2212 Portrait of an Artist 

2213 A Portrait 



Artist's Name. 



When 
Purchased. 



Alfred Stevens 



>» 

>» 
)} 

>» 

a 

»» 
11 

♦> 

»» 
»» 

n 

»» 

C. W. Purse ... 
F. Madox Brown 
F.H. Potter ... 
James Ward, B JL. 

Alfred Stevens 

11 



1905 



1906 
1907 

1908 



347 



No. 



Subject 



Artisfs Name. 




When 



828 The First Barringr 
330 Landscape 
831 Newsmongen 
852 Prawn Gatohers .. 
353 Yoriok and the 

Griflotte ... 
854 The Window 
856 TonthandPleasore ) 
859 The Lute Player ) 
874 Column of St Mark 
378 The Newspaper ... 
879 Lycian Peasants ... 
893 The Last in ) 

S94 Fair Time ... ( 

397 Ohrist Lamenting 

over Jerusalem 

398 Haidee, a Greek 

Girl 

399 Escape of the 

Oarrara Family 

400 Barges Cathedral 

401 Chorch of Saint 

Panl, Antwerp 

402 Sanoho Pania and 

the Daohess 

403 Uncle Toby and 

Widow Wadman 

404 Entrance to the 

Zuyder Zee 

405 Battleof Trafalgar 

406 Lake of Como 

407 Venice 

410 High Life and Low 

Life 

411 Highland Mnsio 

412 The Honted Stag 
418 Peace 

414 War 

416 Mr. Robert Vernon 

>422 Pl^ Scene in 

Hamlet ... 
-428 Malvolio and the 

Gonntess... 



Sir D. Wilkie ... 
W. Collins 
G.S. Newton ... 

W. Etty ••• 

B. P. Bonington* 
T. S. Good 
W.J.MtOler ... 

W. Mulready ... 



SirC.L.Ea8tlake 



D. Roberts 



C. B. Leslie ... 



C. Stanfield ... 



Sir E.Landseer 



W.H.Piokersgill 



D. Maolise 



Mr. Bobert Vernon 



1847 



348 



Pwente tl o m ■ •camUmui. 



No. 


Snbjeot 


Artist* 8 Name. 


By whom Freiented. 


When. 


424 


The SynagogQe ... 


S. A. Hart ... 


Mr. Robert Vernon 


1847 


426 
427 


Going into School ) 
A Dame's Sohool j 


T. Webster 




— 


429 


The Pathway to) 
Ohorch ... ] 


T. Greswiok ... 




— . 


430 


Dr. Johnson in the"^ 










Ante • room of 1 
Lord Chester- | 


E. M. Ward ... 




— 




field ... J 








431 


The Fall of Olar^ | 








432 


endon ... ( 

The South Sea ( 

Bubble ... j 


E. M. Ward ... 




— 


437 


The Fisherman's ) 
Home ... j 


F. Danby 




— 


438 


The Woodcutters i 


J. Tiinnell 






139 


The Windmill j 




~" 


440 


The Gouty Angler 


T. Lane 






441 


A Basket of Fruit, \ 
Pineapple, and ( 










Bird's Nest. \ 


G. Lance 




m^ 


142 


Bed Cap ... ( 








443 


Fruit ... j 








444 


Le Diable Boiteux 


A. L. Egg 




.—. 


446 


The Pride of the ) 
Village ... f 


J. G. Horsley ... 







447 


Dutch Boats in a ) 










Calm ... V 


E. W. Cooke ... 




_ 


448 


The Boat House 


• 






450 
451 


A Village Holiday ) 
The Tired Soldier ] 


F. Goodall 




— 


452 


The Scanty Meal ... 


J. F. Herring ... 




— 


563 


Jerusalem ... ... 


T. Seddon 


( An Association ( 
( of Gentlemen f 


1867 


759 


The Remorse of ) 
Judas ... 1 


E. Armitage ... 


The Painter 


1866 


810 


Pardon Day in ! 
Brittany... j 


0. Poussin 


Mr. R. E. Lofft ... 


1870 


1112 


Mrs. Ann Hawkins 


J. Linnell 


Mr. F. Piercy ... 


1882 


1142 


The August Moon 


Cecil Lawson ... 


Mrs. Cecil Lawson 


1883 


1187 


A Sketch of Rustic) 
Figures... j 


Sir D. Wilkie ... 


Mrs. E. Vaughan 


1885 



349 



Presentations — continued. 



No. 



Subject. 



Artist's Name. 



By whom Presented. 



When. 



\ 



1206 The Woods of] 
Sweet Chestnut I 
above Varenna, 
Lake Gomo 

1236 View of the House 
in which the > 
Artist was1t)orn ) 

1236 The Salt Box, 

H amps t e ad 
Heath ... 

1237 View on Hamp- 1 

stead Heath ) 

1244 The Bridge at ( 

GiUingham \ 

1245 Church Porch, 

Bergholt... 
1268 View of Hyde 

Park Comer 
1254 View of Hyde) 

Park Corner ) 

1279 ** Beata Beatrix *' ... 

1285 Napoleon I. 

1822 Eve of the Deluge 

1891 The Harbour of) 
Refuge ... j 

1892 Cardinal Bourchier | 
and the widow > 
of Edward IV. I 

1894 Christ washing St. 

Peter's Feet 
1426 St. John leading 

the Blessed 

Virgin from the 

Tomb 
1448 A Village Green) 

in France ... ) 
1463 A Street in Cairo... 
1474 Dredging on the ) 

M^way ... f 

1492 Christ and the 

Woman of 

Samaria... 



F. L. Bridell ... 



John Constable 



James Holland 
Unknown 

G. C. D. Bossetti 

E. J. H. Vemet 
W. B. Scott ... 

F, Walker 



John Z. Bell ... 
F. Madox Brown 

W, Dyce 

F. S. Bonvin ... 
W. J. Miiller ... 



Mrs. Bridell Fox 



Miss Isabel ) 
Constable ) 



Miss E. J. Wood 



( Lady Mount- ) 
I Temple ) 

Duke of Leinster 
Miss Alice Boyd 
( Mr. William I 
I Ag^iew f 

Mrs. J. Z. Bell ... 



{ 



A Body of Sub- 
scribers 






George Richmond 



Anonymous 



Mrs. E. Edwards 

Lady Weston ... 
j Mr. Holbrook ) 
\ Gaskell ] 

I Mr. Richmond's 
\ Family 



1886 



1887 



I 



1888 



1889 



1891 
1893 






1894 

1896 

1896 
1897 



1 



350 



^imeixM&onar^eowtinusd, 



No. 



Snbject. 



ArtlstrBName. 



By whom Presented. 



When. 



1493 

1498 
1499 

1600 

1601 
1502 
1608 

1604 

1606 

1606 

1607 
1608 
1609 

1610 

1611 



1612 
1613 
1614 
1616 

1616 
1617 

1618 

1519 
1520 
1521 



tha] 
Ciar-V 
ins ) 



! 



Landsoape with a 
View of tiie Oar 
rara Monntaina 

Sacking a Ghoioh... 

Nature Blowing | 
Bnbbles for her V 
Children... ) 

The Last Day in 
l^e Old Home 

Femmes enPri^... 

The Crofter's Team 

Equestrian Port- J 
rait ... 

Near Hingham, 

Norfolk ... 
Lady's Portrait .. 

Ophelia 

The Vale of Best... 
The Knight ESrrant 
The North West' 



Mercy, St. Bartho- 
lomew's Day 

And the Sea gaye | 
up the Dead that V 
were in it ) 

Home with the Tide 

Yonng Dreams ... 

The Seaweed Baker 

The Miracle of the ) 
Gadarene Swine f 

Giants at Play 

Companions in 
Misfortune 

The Blockade 

Banner 

Her First Dance .. 

The First Clond ... 

Her Mother's Voice 



Giovanni Costa 
J^rescott Knight 
W. Hilton 

B. B. Martinean 

A. Legro9 

H. MacaUnm ... 
Sir E. Landseer 

and Sir J. E. 

MillaiHi Bart. 

John Crome ... 

J. Hoppner ... 

Sir J. B. Millais, 

Bart. ... ..• 



Lord Leighton 
J. C. Hook 



B. Biyiere 



W.Q,0rchard8on 



{ 



ABodyof Snb- 
soribers 



( Col. Knight i 
\ Prescott I 

Mr. Charles Butler 



1897 



( Mr. Edward H. I 
I Martinean { 
A Body of Sub- \ 
scribers ( 

r. E. Homan ... 



i: 



Anonymous 
Mr. Henry Tate 



351 



Pzesfiiitatioiia— ^ontiniMtf. 



No. 



Sabieot. 



ArtisVB Name. 



By whom FimeBted. 



When. 



1622 

1523 

1624 
1625 
1626 
1627 
1628 
1629 

1530 
1531 
1532 
1633 

1534 
1536 
1536 
1537 
1538 
1539 

1640 

1541 
1642 
1543 
1644 

1645 
1646 
1547 
1648 
1649 
1650 
1651 
1662 

1658 

1654 

1655 



The Doctor 



i 



i 



Silent Greeting 

A Bainy Bay 
The Silken Gown... 
FanltB onboth Sides 
A Highland Mother 
Mother and Son .. 
Musioal Story by 

Ohopin ... 
A LoBt Ganae 
Gupid's Spell 
So^e at Abbotaf Old 
Unole Tom and his ) 

Wife for Sale | 
The Promenade 
" HuBh " .., 
"HuBhed"... 
Wayside Prayer 
The Emigrants 
Weeding the Paye- ) 

ment ... j 

The Valley of the ) 

Llugwy ... j 

The Grade 

St. Eulalia 

TheLadyof Shalott 
The Health of the ) 



Bride ... 
Totland Bay 
Noonday Best 
Contemplation 
Pangboome 
Blossoms ... 
Sinbad the Sailor 
Snocess I ... 
Sweethearts and 

Wives ... 
The Bemnants of 

an Army 
Ars Longa Vita 

Breyis ... 
Thursday 



i 



Lake Fildes ... 
Sir L. Alma - 

Tadema 
Peter Graham... 
Thomas Faed ... 



H. W. B. Dayis 
A. C. Gow 

H. Woods 

Sir E. Landseer 



J. Phillip 
Frank Holl ... 



E. Niool 

G. H« Bonghton 

B. W. Leader ... 
J.W.Waterhonse 



Stanhope 
Forbes 
J. B. Pyne 
J. Linnell 



A. 

... 
... 
... 



Keeley Halswelle 
Albert Moore ... 
Albert Gkxxlwin 
S. E. Waller ... 



Lady Butler ... 

J. Haynes- Wil- 
liams 
W.Dendy Sadler 



Mr. Henry Tate 



1897 



352 

Presentatioxuh— MMi^i«iMtf. 



No. 


Subject. 


Artist's Name. 


By whom Presented. 


When 


1556 


A Good Story 


W. Dendy Sadler 


Mr. Henry Tate 


1897 


1557 


A OouTitry Cricket ) 
Match j 


John R. Reid ... 




— 


1558 


Mother andDanghter 


E. Douglas 




— 


1669 


Morning with die ) 
Wild Red Deer f 


S. J. Carter ... 




— 


1560 


Orphans 

Ploughman and 1 
Shepherdess J 


T. B. Eenninffton 




.^ 


1562 


F. Goodall 


j A body of Sub- 1 
( scribers ) 


1898 


1663 


St. Stephen ] 


Sir J.E.Mi11ais, 
Bart.... ... 


Mr. Henry Tate 


1897 


1564 


A Disciple 






^^ 


1565 


OamarTon Castle... 


W. J.Mflller ... 




— 


1666 


Sympathy ... ... 


B. Riviere 





— 


1667 


His First Offence... 


Tjady Stanley ... 


— 


— 


1668 


Wind on the Wold 


G. H. Mason ... 




— 


1680 


Mammon ... ... 


G. F. Watts ... 


The Painter 


— 


1631 


Dweller in the ) 
Innermost j 






— 


1632 


For he had Great J 
Possessions ) 


1 




— 


1633 


Dray Horses 






— 


1634 


The Minotaur 






— 


1635 


Death Crowning ) 
Innocence j 
















1636 


Jonah ... ... 






— 


1637 


The Spirit of ) 
Chnstianil^ 
















1638 


Sic Transit 






— 


1639 


Faith ••• ... 






— 


1640 


Hope ... ••• 






— 


1641 


Love and Life 






— 


1642 


She shall be called ) 
Woman ... ) 






— 


1643 


Eve Tempted 






— 


1644 


Eve Repentant ... 






— - 


1645 


Loye and Death ... 






— 


1646 


The Messenger ... 






— 


1647 


Chaos 






— 


1655 


The Kyles of Bute 


C. P. Knight ... 


Miss A. F.C. Knight 


1898 


1666 


Evening Quiet 


T. H. McLachlan 


1 A body of Sub- 
( scribers 


— 



353 



Presentations — continued. 



No. 



Snbjeet. 



Artist's Name. 



1657 The Order of Re- 

le&se 
1677 Silvery Moments, ) 
Bumham Beeches j 

1686 Flower-piece 

1687 The All Pervading 

1690 The Thames f rem ) 

a Wharf near I 
Waterloo Bridge ) 

1691 The Boyhood of! 

Raleigh ... j 

1692 Love Triumphant... 

1693 Time, Death, and i 

Judgment j 

1703 Windsor Oaatle ... 

1704 Marooning 

1714 Gathering Seaweed 
1716 A Capri Boy 

1716 A Street 

1717 Northleaoh Church 

1719 OheyneWalk 

1720 View in Sussex ... 

1721 Castle Entrance ... 

1722 Richmond Park ... 

1723 Puente San Mar- ) 

tin, Toledo. j 

1724 The Monarch of the 

Glen 

1725 A VioUn Concerto .. 
1729 Sketch in Spain ... 
1734 Sketch of Harlech ) 

Castle ... t 

1736 Sketch of a Harbour 

1736 Beckenham Church 

1737 Sea-piece 

1738 Sea - piece, with ) 

Fishing Boats V 
in a Calm. ) 

1739 A Cottage Fireside 
1742 Design for the ) 

National Gallery I 
of British Art. ) 

(B.A.) 



Sir J. E. Millais, 
Bart. 

A. MacCallnm ... 

t H. Fantin- ) 
( Latour. ) 
G. F. Watts ... 

Edwin Edwards 

Sir J. E. MillaiB, 

Bart. 
G. F. Watts ... 



A. W. Hunt ... 
E. J. Gregory ... 
H. Macallum ... 



By whom Presented. 



When. 



A. Poynter 

R. P. Bonlngton 
A. V. C. Fielding 
( George Catter- ) 
{ mole. ) 

William Bennett 

A. B. Donaldson 

Andrew Mao ) 
Galium. ) 

J. P. Gulich ... 
J. F. Lewis 

David Cox 



John Varley 



Sir D. Wilkie ... 
S. R. J, Smith ... 



Sir Henry Tate, 
Bart. 

The Painter 

Mrs. E. Edwards 
The Painter 

Mrs. E. Edwards 

I Lady Tate 
The Painter 



Mr. Henry Tate 
Mr. E. Homan ... 



Miss H.M.Poynter 

Mr. E.,Homan ... 
Mr. E.'Homan ... 

Mr. E. Homan ... 

Mr. E. Homan ... 

Miss Twining ... 

Mr.A.MacCallum 

Sir Henry Tate... 
Miss J. E. Gordon 



The Artist 



1898 



1899 



1900 



1897 

1898 
1899 



1900 
Z 



354 



PieeentsktionB-Hfontinued, 



No. 



Subject. 



1743 

1744 
1746 
1746 

1762 

1753 
1761 



1762 
1763 
1764 

1766 
1767 

1768 
1771 



1772 
1782 

1783 

1784 

1846 

1862 



1863 
1864 
1866 



Artist's Name. 



Academy Study ... 



Hylas and the ) 
Water Nymphs j 
The Sluggrard 

A Singer 

Cast of Sketch for ] 
Athlete stmg- ( 
gling withj 
Python ... ; 

Dionysos 

Thetis condoling | 
with Achilles < 

Sir David Wilkie, I 
R.A. ... ) 

Sir Henry Tate ... 

Honnds in Leash ... 



Clytie 

King Cophetna 

and the Beggar 

Maid 

The Sisters 
After Snnset 

■Civw ••• ••• •• 

Isaiah 

The Design for 
Freemasons 
Hali^ London. 

Edinburgh Castle... 

Carmarthen Castde 

Part of the Ban- 
queting Hall of 
King John's 
PalMe, Eltham. 



I 



William Mnl- 
ready. 



J. Gibson 
Lord Leighton 

E. Onslow Ford 
Lord Leighton 

F. W. Pomeroy 

Thomas Banks 

Samuel Joseph 

Thomas Brock 
Harry Bates ... 

O. F. Watts ... 

( Sir E. 0. B. I 
) Bume-Jones ) 

Ralph Peacock 
H. W. B. Davis 

Harry Bates ... 

Thomas Brock 

Alfred Stevene 

Thomas Sandby 
PaulSandby ... 



By whom Presented. 



When 



Society of Arts... 



( Mr. Robert I 
I Vernon | 

Mr. Henry Tate 



Prof. A. Legros 
Mr.H.J. Pfungst 

Mrs. Forster 

I An Association ) 
I of Gentlemen ( 
An Association I 
of Gentlemen ) 
Lord Wemyss ... 



I 



The Artist 

( An Association ) 
( of Gentlemen j 

The Artist 



( Mr. Charles J. • 
( Ejiowles 
Sir Henry Tate... 
rMr. Charles J A 
\ Knowles / 

Mr. Wm. Sandby 



1900 



1847 
1897 



1898 

1845 

1844 

1898 
1899 

1900 



1901 



355 



PresentationB — contintied. 



No. 



Subject. 



1856 The Cemetery 
Gate of St. 
Augustine's 
Monastery, 
Canterbury, 1782 j 

1894 The Court of Death 

1902 From the Dorset- I 

shire Cliffs. ) 

1904 Landscape 

1906 Paysan 

1918 A Story from Boo- / 
caocio. I 



1919 Victoria Regina ... 

1920 Life's lUusions ... 

1921 Scottish Jacobites 

1936 Holmwood, Dorking 

1940 Kept in School ... 

1942 WilHam IV. and I 
Queen Adelaide. ( 

1949 G.F. Watts, R.A. .. 

1950 Reclining Nymph.. 

1954 Charles Keene 

1955 The Last Ray 

1959 Old Battersea) 
Bridge ... j 

1983 Echo 

2063 Miss Ellen Terry ... 



Artist's Name. 




•"• I 



Paul Sandby .. 

G. F. Watts 

John Brett 
J. W. Allen 
Prof. Lant^ri 

G. F. Watts ... 

H. T. Wells ... 

G. F. Watts ... 
C. Calthorp 
S. Bough 
G. D. Leslie ... 

Sir David Wilkie 

Alfred Gilbert... 

Sir F. Chantrey 

i George ) 

I Frampton ) 

Hugh Carter ... 

J McN. Whistler 

G. F. Watts ... 
J. S.Sargent ... 



Mr. Wm. Sandby 

The Artist 

Mrs. Brett 

Mr. T. W. Bacon 
The Pupils of ) 
Prof. Lanteri J 
The Members j 
of the Cosmo- > 
politan Club. ) 
Mrs. Street and 
Mrs. Hadley, 
daughters of 
the Painter. 
Mrs. Seymour ... 

Mrs. Calthrop ... 

Earl of Carlisle... 

Sir Wm. Agnew 

Mr. Bright 

Mrs. G. F. Watts 
Miss Tye 

Mrs. Edwards ... 

Mrs. Carter 

(National Art 
Collections 
Fund 
Mrs. Watts 
Mr. Duveen 



1901 



1902 



1903 



1904 



1906 



1906 



(B.A.^ 



Z 2 



356 



Fnatntatioua— continued. 



No. 


Subject. 


Artist's Name. 


By whom Presented. 


Wben. 


2060 


The Last Load 


J. Linnell 


Mr. J. W. CarUle 


1906 


2061 


W. P. Frith 


J. Thomas 


Mr. L. Lowenthal 


: — 


2075 


Thomas Stothard ... 


Henry Weeks ... 


An Association 


1868 


2076 


William Mnlready 




of Gentlemen' 
( National Art] 


1866 


2079 


Mr. Henry Newbolt 


WiUiam Strang 


< Collections > 
{ Fund ) 


1906 


2080 


The Woman in \ 
White ... ! 


Fred Walker ... 


]Mr. Claudei 
\ Phillips f 
( Mrs. Combe in ) 


• 


2109 


Houses at Tivoli ... 


H. B. Brabazon 


] memory of 1 
j her uncle, j 
( Mr. Brabazon ) 


1907 


2110 


Vase of Flowers ... 






... 


2111 


Mnroia ... ••• 






_- 


2112 


Tivoli 




fMiflH Clare AtO 
wood, on be- 
half of a body 




2113 


Th# Pink Palace ... 




of subscri- • 
hers in me- 
mory of Miss 
Ethel Parker^ 


/ 


2114 


The Grand Canal... 






— 


2115 


Les Bochers Bouges 




( Mr. J. S. Sar- ) 
1 gent, B.A. J 
f Mr. J. Moser, in^ 
commemora- 


* 


2116 


Jews moamiDg in ) 
Synagogue 


W. Bothenstein 


tion of the 
-l Jewish 
Whitechapel 
Exhibition, 
L 1906 ... 


— 


2117 


Mr. John Gray ...• 


Alphonse Legros 


( His Honour, 1 
1 Judge Evans j 


_ 


2119 


Will it Bain ? 


James Charles... 


Mr. John Maddocke 


1 » 


2120 


The Ship ... 


W.HolmanHunt 


( A body of Sub- I 
( scribers ] 


— 



357 



TieaentBAAoiDB-^antinued, 



No. 


Subject. 


Artist's Name. 


By whom Presented. 


When. 


2121 


Sheet of Studies | 










for Isaiah Gar- > 


Alfred Steveng 


Mr. J. R. Clayton 


1907 




toon ... ) 








2122 


Studies of Sheep ... 


James Charles... 


Prof. F. Brown... 


— ^ 


2123 


In the Hayfield ... 


• 




— 


2121 


Heads and Groups ) 
of Figures ) 




Mrs. James Chailes 


— 


2125 


landscape and) 
Figures ... \ 
















2126 


Study, a Country i 
Road ... 1 




















• 


"Sir J. C. Robin-" 










son, through 




2181 


The Picnic 


SirD.Wilkie,R.A. 


•• the National > 
Art - CoUec - 
tions Fund. ; 




• 






f Mr. J. Duveen,*^ 
(jun.), and 
others 




2132 


John Morris-Moore 


Alfred Steyens 


i through the ► 
National Art- 
Collections 
Fund. 

"^Miss Clare At-^ 
wood, on be- 
half of a body 




2198 


Studies 




of Subscri- ► 
bers in mem- 
ory of Miss 
Ethel Parker 




2199 


Portrait of Mehe- 
met Ali Pasha 


J. F. Lewis, R.A. 


Mr. H. H. Finch 




2200 


Two Turbaned"" 
figures seated on 


















the ground in - 






_ 




an Eastern 










Courtyard. 




• 




2201 


Santa Croce 






^^^ 


2202 


Mirador in San- | 
c h e z' Cottage, ^ 














^^, 




Alhambra. ) 


• 






2203 


Interior of a Church 









2214 


Little Dormouse ... 


F. H. Potter ... 


Amy, Lady Tate 


1908 


2215 


Portrait of the ) 
Artist ) 


Charles Kerr ... 


Mrs. Charles Kerr 


— 



358 



No. 


Rnbject. 


Artist's Name. 


By whom 
Bequeathed. 


When. 


281 


Portrait of T. ) 
Daniell, B.A. ) 


Sir D. WiUrie ... 


Miss M. A. FuUer 


1837 


241 


The Parish Beadle 




Lord Colbome ... 


1854 


507 


Scene from Boo- 1 
caocio ... f 


J. M. W. Turner 


The Painter ... 


1856 


614 


Watteau Painting... 






— 


515 


Lord Percy in) 
Prison ... 1 
















517 


ShadrachjMeshach i 
and Abednego f 
















529 


The Exile 






.^ 


531 


Shade and Darkness 






.^ 


532 


Light and Colour... 






— 


545 


Whalers 






•^ 


549 


Undine 






_ 


550 


The Angel in the [ 










Sun ... j 




"'*^ 


"^~ 


652 


Aeneas Relating ) 
his Story to > 
Dido ... 1 






— 


563 


Mercury Sent to j 
Admonish/ 
Aeneas ... ) 
















554 


The Departure of ( 
the Trojan Fleet ( 














"^" 


655 


The Visit to the 1 
Tomb ... j 














-— . 


661 


A Mountain Glen... 






■■^■a 


562 


Harvest Home 






^ 


600 


The Blind Beggar 


J. L. Dyckmans 


Miss Jane Clark 


1859 


607 


Highland Dogs ... 


Sir E. Landseer 


Mr. Jacob Bell ... 





608 


Alexander and ) 
Diogenes | 














""^ 


609 


Maid and Maggie . . . 







.._ 


614 


The Bather 


W. Etty 




_ 


616 


Derby Day 


W. P. Frith ... 




^^^ 


616 


James II., &c. 


E. M. Ward ... 





_ 


620 


River Scene 


Lee k, Cooper ... 




.^^ 


621 


The Horse Fair ... 


RosaBonheur ... 




^^_ 


815 


The Roads of ) 
Flushing. J 


P. J. Clays ... 


Mr. J. M. Parsons 


1870 


898 


Byron's Dream ... 


SirC.L.Ea8tlake 


Mr. T.Howard... 


1872 



359 

Bequests — continued. 



It 



No. 



Snbject. 



dl7 

918 

919 

921 

1029 

1091 

1169 
1170 

1181 
1182 

1184 
1225 



1226 

1276 

1879 
1395 

1398 
1477 
1494 

1561 

1684 



1685 
1702 
1727 



Artist's Name. 



By whom 
Bequeathed. 



When. 



I 

» 

I 
} 



No News 

Fisherman with a 

Gun 
Study of a Boy ., 
Blind Man's Buff... 
The Temples of 

Paestum 
The Vision of 

Ezekiel ... 
Mrs. Robt. Holland 
St. Augustin and ) 

St. Monica ) 

Sea Shore Scene ... 
Scene from Mil- ( 

ton's Comus f 
A Fruit-piece 
Portraits of the 

Artist's Father 

and Mother 
A Distinguished | 

Member of the > 

Humane Society ) 
Harwich, Sea and ) 

Lighthouse I 

The Rat-catcher ... 

Portrait of Mrs. j 
G. H. Bellenden V 
Ker ... ) 

Ippolita Torelli ... 

The Moorland 

The Yeoman of the I 
Guard j 

Portrait of the ) 
Artist ... j 

Saint Michael's 
Mount, Nor- 
mandy 

Death of Chatterton 

"Rosa Triplex" ... 

Portrait of jMrs. | 
B, Young ! 



T. S. Good 



SirD. Wilkie ... 
W.Linton 

P. F. Poole ... 

Ary Scheffer .<. 



W. Mulready ... 
0. R. Leslie ... 
G. Lance 

T. Webster 

Sir E. Landseer 

J. Constable ... 
T. Woodward ... 

SirC.L.Ea6tlake 



J. W. Inchbold 
Sir J. E. Millais 
G. F. Watts ... 



James Webb ... 

Henry Wallis ... 
G.G. D Rossetti 

Sir D. Wilkie ... 



Mrs. M. E. Good 



Miss H. Bredel ... 
The Painter 

Mr. R. Holland 



Mrs. E. Vaughan 



The Painter 



I 



Mr. Newman I 
Smith. r 

j MiBsIsabelCon- ) 
\ stable ) 

i Mr. Edward ) 
( Archer ) 

( Mr. Charles H. i 
} Bellenden Ker ) 

Lady Eastlake ... 
I Sir J. Russell ) 
I Eleynolds f 

Mrs. Hodgkinson 
Sir Wm. Bowman 



Rev. M. Davison 

Mr. C. G.tJlement 
Mr. J. J. Lowndes 

Mrs. E. Young ... 



1874 



1876 
1876 

1879 

1885 



1886 

1887 

1888 
1892 

1893 

1896 
1897 
1898 

1899 

1892 
1900 



360 



Bequests — coTitinued, 



No. 



1728 
1730 

1731 

1732 
1733 

1740 

1741 

1769 
1770 

1780 

1781 

1785 

1786 

1787 
1788 

1789 

1790 



1791 
1792 



1793 
1794 
1795 



Subject. 



Lake-side Scene . 

Study for a Land- 
scape 

Scene of Ancient ) 
Monastic Life. ) 

Ditto 

Study for a Land 
scape 

Miss J. E. Gordon 



Six Sketches 
one Frame. 



John Flaxman, B.A. 



\ 



Sir Joshua Rey 
nolds, P.B.A. 

The Canal of the { 
Giudecca, Venice ) 

Uncle Toby and 
the Widow Wad- 
man 

Landscape and ) 
River ... j 

The Lake of Thun 

Donkey and Foal... 

Lands^pe with ) 
Figures ... ) 

Figures outside an ) 
Inn ... I 

Lady Jane Grey ) 
refusing the > 
Crown ... » 

Diana at the Bath 

The Duke and ) 
Duchess reading > 
Don Quixote ) 

Christ rebuking I 
His Diaciples ' 

Falstaff persona- 
ting the King 

Pandora crowned 
by the Seasons 



Artist's Name. 



W. J. Miiller ... 
G. Cattermole... 



Sir D. Wilkie ... 



H. Weekes 

T. H. Foley ... 

B. W. Cooke ... 

W. P. Frith ... 

Thomas Creswick 

AlexandreCaiame 
Sir E. Landseer 

LeeandLandseer 
Alexander Fraser 

C. B. Leslie ... 
William Hilton 
C. B. Leslie ... 



William Etty ... 



By whom 
Bequeathed. 



When. . 



I Mr. Leonard S. 
\ Pratten. 
( Mr. John Hen- 
( derson. 



1900 



Miss J. E. Gordon 



I 



Mr. Henry ) 
Yaughan j 



Mr. H. S. Ashbee 



Mr. H. Vaughan 



361 



BeqnBBtB^oontinued. 



No. 



1796 
1797 

1798 
1799 

1800 

1801 
1802 
1803 
1804 

1805 

1806 

1807 

1808 



1809 

1857 

1867 
1907 
1908 
1909 

idio 

1911 

1912 
1931 

1932 



Snbjeot. 



Sanoho Panza and 

the Daohesa 
An interior with a 

Woman and her 

Child ... 
Anne Page and 

Slender ... 
Charles II. and 

Lady Marguret 

Bellenden 
Landsoape with ) 

Cattle ... J 

Viola and Olivia ... 
Mill, near Oxford... 
J. E. Millais, A.B.A. 
The Rape of the) 

Look ... f 

Twelfth Night, ) 

Aot I., so. iii. I 
Borneo and Juliet, ( 

Aot IV., BO. V. j 
A maid offering a 

Basket of Fruit 

to a Cavalier 
Charles I. and his 

Son in the Studio 

of Van Dyok 



ArtiBt'8 Name. 



lis i 
lioV 



Grand Canal, Venice 
River Scene with ) 

Cattle ... } 

Carnarvon Castle ... 
Gossips at a Well... 
The Prison Window 
The Execution of ) 

Lady Jane Grey ) 
Cromer Sands 
Rezzonioo and the ) 

SplUgen Range J 
Sunday Morning ... 
Old Gravel Pit in / 

Greenwich Park ) 
Bringing up a Gun 



C. B. Leslie 



W. Mulready ... 



0. B. Leslie 



T. S. Cooper 

C. B. Leslie 
E. W. Cooke 
C. B. Leslie 



Lord Leighton... 



Sir J. E. Millais 



James Holland 
J. M. W. Turner 

J. Philip 



P. Delaroche ... 
W. Collins 
C. Vaoher 
W. Collins 
Sir J. Gilbert ... 



By whom 
Bequeathed. 



When. 



Mr. H. Vaughan. 



1900 



The Painter 



Mr. G. Gassiot ... 



Lord Cheylesmore 



1856 



1902 



Mr. G. Vaoher ... 
Mr. G. Gassiot ... 
Mr. G. Gilbert ... 



1904 



362 



Bequests — oontiimed. 



No. 


Subject 


Artist's Name. 


By whom 
Bequeathed. 


When. 


1^33 


Cardinal Wolsey j 










and the Dnke of > 


Sir J. Gilbert ... 


Mr. G. Gilbert ... 


1904 




Bnckingham. . J 








1934 


The Happiest Land 






.^ 


1948 


Outward Bonnd ... 


Sir E. J. Poynter 


Mrs. H. Evans ... 


,^_ 


1956 


Fantiaisie en Folie... 


Robert Brough 


The Painter ... 


1905 


1968 


Boat near Venice ... 


E.W.Cooke .... 


Mr. C. Fraser ... 


__ 


1969 


A Greek Captive ... 


Henriette Browne 




^__ 


1970 


A Man's Head 


William Hunt... 




..^ 


1971 


A Peasant Girl ... 






^_ 


1972 


A Fruit Piece 




• 


^^, 


1973 


A Water Carrier ... 






_^ 


1974 


Apples 






— 


1975 


The Shrine of Ed- i 










ward the Con- V 


David Roberts... 




__ 




fessor ... ) 






■ 


1976 


Cow and Sheep ... 


T. S. Cooper ... 




_^ 


1977 


Cottage at Ham- ) 
bledon ... j 


M. B. Foster ... 




— 


1978 


Street in Antwerp 


S. Prout 




_^ 


1979 


Dragoons on the i 
March ... \ 


F. Tayler 




— 


1980 


Storm off a Rocky i 
Coast ... ) 


J. M. W. Turner 


The Pa.int«r 


1856 


1981 


Norham Castle ... 






__ 


1984 


Margate from the \ 
Sea ... J 














"^ 


1985 


The Bay of Baias ... 






___ 


1986 


Hastings ... 






,^M 


1987 


Breakers on a Flat ) 
Beach ... I 














~~" 


1988 


Interior at Pet- \ 
worth ... j 






— 


1989 


Rocky Bay with ) 
Classic Figures f 














^^^ 


1990 


Sunrise with a J 
Sea-Monster f 






% 








~^ 


1991 


The Evening Star... 






— 


1992 


The Thames from ) 










above Waterloo > 











Bridge ... ) 






1 



363 



Bequests — ciyntinued. 



No. 


Subject. 


Artist's Name. 


By whom 
Bequeathed. 


When. 


1993 


Yacht - Racing in \ 
the Solent, No. 1 ) 


J.M. W.Turner 


The Painter 


1856 


1994 


Yacht - Racing in ^ 
the Solent, No. 2 \ 






— 


1995 


Yacht - Racing in « 
the Solent, No. 3 I 
















1996 


Between Decks ... 






— 


1997 


A Regatta at ) 
Cowes ... I 
















1998 


Shipping at Cowes, 1 
No. 1 ... 1 
















1999 


Shipping off a 1 
Headland 1 
















2000 


Shipping at Cowes, I 
No. 2 ... f 
















2001 


Study of Sea and ) 
Sky ... ] 
















2002 


Sunset with Boat 1 
Between Head- V 
lands ... ) 








2054 


Hero and Leander. .. 


H. H. Armstead 


The Artist 


1906 


2064 


i Old Chain Pier, I 
1 Brighton ) 
A Ship Aground ... 


J. M. W. Turner 


The Painter 


1856 


2065 






— 


2066 


i The Arch of Con- ) 
I stantine, Rome j 










V 


^^" 


2067 


Tivoli 




^ 


^— 


2068 


j The Burning of ) 
] the Ships f 














2074 


1 Thomas Gains- i 
1 borough J 


Thomas Brock 


( Mr. Henry \ 
\ Vaughan f 


9 01 


2164 


Woody Landscape... 


James Stark 


Mr. H.O. Brunning 


1907 



364 



Works purohaBed and presented to the Nation hy 
the President and Connoll of the Roj-al Academy 
nnder the terms of the Bequest of Sir Franein 
Chantre^y R.A. 



No. 



Subject. 



Artist's Name. 



When. 



1569 
1570 
1571 
1572 
1573 
1674 
1575 
1576 
1677 
1578 
1579 
1680 

1681 
1682 
1588 
1684 
1586 
1686 
1687 
1688 
1689 

1590 
1591 
1592 
1593 
1594 
1595 
1596 
1597 
1698 
1699 
1600 
1601 

1602 
1603 



"^1 



The Prodigal Son 

£k.yVnlUk ••• ••• ••• ••• 

June in the Anstrian Tyrol... 

The Ma^o Circle 

Renunciation 

Bath of Psyohe 

Fonnd ... 
Annunciation ... 
Beyond Man's Footetep 

Love looked ont 

Their only Harvest ., 
Toil, Glitter, Grime, and 

Wealth 

Dog^ in the Manger .. 

The Vigil 

Il-y-en a toajonrs nn autre ... 

Speak 1 Speak I 

xsycno ... ... ... ... 

The Visit to JEscnlapius 

Harmony 

Cromwell at Dunbar 

When Nature painted all ) 

things gay j 

Alleluia ... ... ••. 

Portrait of the Artist 

Morning Glory 

Mother's Darling 

Digging for Bait 

The last Match 

Gal way Gossips 

The Cast Shoe 

The Stream ... ... ... 

The Pool of London 

Toil and Pleasure 
Napoleon on board 

Bellerophon 
Charter House Chapel 
Sunset at Sea 



the I 

I 



John Swan ... 

Val C. Prinsep 

J. Maowhirter 

J. W.Waterhouse 

P. H. Calderon 

Lord Leighton 

H. Herkomer 

A. Hacker 

B. Riviere 

Anna Lea Meritt 
Colin Hunter 

W. L. Wyllie 

Walter Hunt 

J. Pettie 

Marcus Stone 

Sir J. E. Millais, Bart. 

G. F. Watts 

Sir B. J. Poynter ... 

F. Dicksee 

A. C. Gow 

A. Parsons 

T. C. Gotch 

Sir F. Chantrey 

M. R. Corbet 

J. Clarke 

C. L. WyUie 

W. Small 

B. A. Waterlow 
R. W. Macbeth 

J. C. Hook 

Vioat Cole 

John R. Reid 

W. Q. Orohardson ... 

H. Herkomer 

E. Hayes 



1897 



365 



No. 



Bnbjeot. 



Artdsf 8 Name. 



When. 



1604 CatB-paws off the Land 

1605 The Man with the Scythe ... 

1606 Gnrth the Swineherd 

1607 Winter Sim 

1608 Returning to the Fold 

1609 Amy Robsart 

1610 Early Promise 

1611 Between two Fires ..• 

1612 The Girl at the Gate 

1613 AngnstBlne 

1614 My Love has gone a Sailing... 
1616 Carnation, Lily, Lily, Rose... 

1616 Last Voyage of Henry Hudson 

1617 Britannia's Realm 

1618 All Hands to the Pumps ... 

1619 Sheep washing in Sussex ... 

1620 ^After Oulloden 

1621 St. Martin's in the Fields ... 

1622 A Tidal River 

1623 Upland and Sky 

1624 The Story of Ruth 

1625 A Golden Thread 

1626 The Joyless Winter's Day ... 

1627 A Hopeless Dawn 

1628 The Waning of the Year ... 

1629 Christ orowned with Thorns... 

1648 In a Fog 

1649 Colt Hunting 

1650 Pilchards 

1672 Ethel 

1673 Milking Time 

1678 In Realms of Fancy 

1679 The Lament for Icarus 

1697 The Battle of the Nile 

1698 My Lady's Garden 

1705 Lions 

1706 Industry 

1707 Solitude 

1708 Morning Bath..., 

1709 Germinal ...* 

1710 Stormy Weather 

1711 Evening Stillness 

1712 Life in the Street 

1713 OldMUl 

1718 Haymaking 

1726 LeCh&teaud'O 



Henry Moore... ... 1897 

H. H. La Thangue ... 

C. E. Johnson 

J. W. North 

H. W. B. Davis 
W. F. Teames 

J. Clarke 

F.D.Millet 

G. Clausen 

H. o. Tuke ... ... 

D. Murray ... ... 

John Sargent 

Hon. J. Collier 

J. Brett ... ... 

H. a, Tuke ... ... 

J. Aumonier ... ... 

J. Seymour Lucas ... 

W. Logsdail 

J. En%ht ... ••• 
Adrian Stokes 

T, M. Rooke 

J. M. Strudwick 

J. Farquharson ••• 

F. Braml^ ... ... 

E. Parton ... ... 

W. Hilton ... ... 

D. Fbrquharson 
Lucy Kemp- Welch ... 
Napier Hemy 

B. Peacock 1898 

Y. King ..» 
S. Melton Fisher 
Herbert J. Draper 

W. L. WylUe 1899 

Y. Hunter ... 

H. Dixon 1897 

H. S^ Hopwood ... 

G. Cockram ... ... 

Mildred A. Butler ... 
L. Smythe 
L. Rivers 

R. B. Nisbet 

W. Osborne 

T. Wade 

A. Glendening, jun.... 1898 
Charles Maundiell ... 1899 



/ 



366 



No. 


Subject. 


Artist's Name. 


When. 


1747 


A Moment of Peril 


T. Brock 


1897 


1748 


Prodigal Son 


W. C. Marshall 




1749 


Perseus rescning' Andromeda 


H. C. Fehr 


^^ 


1750 


Pandora 


H. Bates 


__ 


1761 


xenoer ..* ... ... ... 


H. Thomyoroft 


^^ 


1754 


Athlete struggling with ) 
Python ) 


Lord Leighton 


— 


1765 


Boy at Play 


W. Goscombe John ... 


__ 


1756 


Ignis Fatnns 


H. A. Pegram 


__ 


1757 


Griselda 


A. Drury 


... 


1768 


■•? oAiy ... i*. ... ... 


B. Onslow Ford 


_ 


1759 


Nymph of Looh Awe 


F. W. Pomeroy 


^.. 


1760 


Indian Rhinoceros 


Robert Stark 


.^ 


1766 


The Girdle 


W. R. Colton 


1899 


1773 


Off Valparaiso 


Thomas Somerscales 




1774 


Approaching Night 


H. W. F. Davis 


__ 


1838 


Winter's Sleep 


H. W. Adams 


1900 


1839 


The Two Crowns 


Frank Dicksee 


« 1.1.. 


1898 


Morning 


Arnesby Brown 


1901 


1899 


Val d'Amo : Evening 


M. R. Corbet 


.^ 


1900 


Ali Baba and the Forty \ 
Thieves J 


Albert Goodwin 


— 


1901 


The Flower Girl 


J. J. Shannon 


„_^ 


1926 


In the Country of Constable 


David Murray 


1903 


1927 


Autumn in the Mountains ... 


Adrian Stokes 


.... 


1928 


The Springtide of Life 


W. R. Colton 


_ 


1929 


Remorse 


H. H. Armstead 


.... 


1945 


Sibylla Fatidica 


H. A. Pegram 


1904 


1946 


London River 


C. N. Hemy 


._' 


1947 


JD a lie ••• .*• ... ... 


A. Wardle 


._ 


1960 


The Morning of Sedgemoor... 


Edgar Bundy 


1905 


1961 


St. Agnes in Prison 


F. W. Cowper 


^_ 


1962 


The Black Mountains 


J. Aumonier 


.i_ 


1963 


The Return from the Ride ... 


C. W. Furse 


^^^ 


1964 


The Alcantara Bridge, Toledo 


Harold Speed 


... 


1965 


Peacock and Python 


Edwin Alexander ... 


_ 


2070 


The Deserted Mill . 




G. D. Leslie 


1906 


2071 


The Heretic ... 




Frank Craig 




2072 


Birnam Wood ... 




D. Farquharson 


.... 


2073 


The Listeners .. 




R. Ann\ng Bell 


.1^ 


2137 


The Rehearsal 




L. C. Taylor 


1907 


2138 


Runswick Bay 




Arthur Friedenson ... 




2139 


The Seeds of Love 




W. G. Simmonds 


^HMM 


2140 


The Earth and the Elements 


Bertram Mackennal 


^^^ 


2141 


Girl and Lizard 


S. M. Wiens 

• 









i« 








LONDON : 

PRINTED FOR HIS MAJESTY'S STATIONERY OFFICE, 

By DARLING & SON, Ltd., 34-40, Bacon Steebt, E. 



1908. 



56 L84nt 1908 

TIN TaM m»mr. Mm mMMl mH 




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/